Macmillan, 311 pp., $4.95
The more New York becomes a problem to itself the less good old self-sufficient exuberance can be expected from novels that restrict themselves to the city. Which is no less true of its art. The more seemingly naive a work by Johns or Rauschenberg the longer and subtler a commentary it appears to need; and when commentary fails, a mere narrative of how the work was, and could only have been, done in New York (Lippold's sculpture in the lobby of Lincoln Center or Tingueley's self-immolation machine at the Modern Art) takes on all the metaphysical aura of Gesamtkritik.
Review, 852 words
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