In so doing, it aims to foster greater insight into one of the prevailing concerns of the ‘60s, ‘70s and, indeed, today: where does art end and life begin?Īrtist and writer David Batchelor began his 1997 treatise on Minimal Art with a bold pronouncement: “There is a problem with Minimal Art: it never existed.”In truth, the movement that we now refer to as ‘Minimalism’ existed in so many permutations and was exemplified by so many practitioners that its tenability as a cohesive practice was, at the time, quite in doubt.

Consequently, this essay not only contextualized the artwork on view in Spatial Reasoning, but also broadly examines the rich nexuses shared by the Minimal, Conceptual and Post-Minimal art movements. Although artwork from each of these rubrics can vary widely in intent and form-presenting as anything from a steel cube to a signed document to a grainy video-they share vital tenets that reward consideration in concert. Featuring iconic works by five seminal artists-Sol LeWitt, Dan Flavin, Fred Sandback, Dan Graham and Bruce Nauman-this exhibition introduces Argentinian audiences to the movements of Minimalism, Conceptualism and Post-Minimalism.

Minimalism, Post-Minimaisml and Conceptualism centers on key figures of the American art scene during what is arguably its most fertile creative period: the 1960s and 1970s. Susan Sontag, “Against Interpretation,” in Against Interpretation and Other Essays(New York: Picador, 2001), 13-14.

Famous minimalist artists 70s