![]() A laugh can be a complex response incredulity, delight, recognition of a kindred spirit, were components of that one. My first reaction was to gasp, then laugh out loud. Two somethings, actually: a wall piece and a floor piece, both wonderfully eccentric. I turned a corner and suddenly there was something unexpected to look at. You had your Judds, your Andres, your Irwins, and your Flavins: an impressive display of industrially fabricated, meticulously machined, formally pristine, rigorously systematic, coldly elegant, aggressively untouchable (why bother?), muy macho objets d’art. ![]() I first saw her work around fifteen years ago at the Museum of Contemporary Art in L.A in a large group exhibition of American Minimalist artists of the 1960s and ‘70s. Possibly the best introduction to Eva Hesse is no introduction at all. Lippard, Eva Hesse (New York New York University Press, 1976), p. From Hesse’s statement for her 1968 exhibition Eva Hesse: Chain Polymers at the Fischbach Gallery, New York, quoted in Lucy R. As a thing, an object, it accedes to its non-logical self. ![]() This means that it would find its way beyond my preconceptions…It is the unknown quantity from which and where I want to go. It is something, it is nothing:The “non-work” of Eva Hesse ![]()
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