The show for which McShine is best remembered — and which is one of the most celebrated exhibitions of the late 20th century — is “Primary Structures: Younger American and British Sculptors,” from 1966. Judy Chicago, then known as Judy Gerowitz, exhibited “Rainbow Pickett,” a sequence of six brightly painted wooden beams that leaned against the wall. For Hunter, too, “Primary Structures” did little to help his standing at the museum. But Katz’s daredevil spirit would also indirectly end the museum’s improbable run as the primary promoter of the avant-garde. Everything in the show — the exhibitions, the performing artists — ran on programmed instructions or were issued from a prescribed system.

Source: New York Times July 23, 2020 12:56 UTC