PAST EXHIBITION
Boderline
May 20, 2008—October 5, 2008
In the increasingly theoretical New York art world of the 1960s,
painting was largely displaced in favor of sculpture, concept was
privileged over material, and idea over sensory qualities. Artists
associated with Minimalism employed nonhierarchical, mathematical
regularity to compose hard-edged, unitary geometric forms, and called
for pristine, monochromatic surfaces that appeared untouched by the
artist’s hand and announced their status as self-referential objects.
By the 1970s, however, artists of the Post-Minimalist movement began to
expand this aesthetic with their explorations of the psychical and
physical processes involved in the actualization of art, and a new
focus on their objects’ materiality and the conditions of their
construction. The eight paintings and one sculpture included in
Borderline highlight the ways five different artists—Carl Andre, Robert
Mangold, Agnes Martin, Robert Ryman, and Richard Serra—navigated this
transitional moment, with particular attention to their use of the line
as a formal trope.
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