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Site Map and Checklist

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1. Fred Sandback, "Remarks on my Sculpture 1966--1986," Fred Sandback Sculpture 1966-1986, (Mannheim: Kunsthalle, 1986), p . 12. 2. Ibid . 3. Ibid., pp . 12-13. 4. Ibid., p. 13. 5. Sandback and a friend coined the term to define space that was "literal, flat- footed and everyday. The idea was to have the work right there along with everything else in the world, not up on a spatial pedestal. The term also involved the idea of utility-that a sculpture was there to be Notes actively engaged, and it had utopian glimmerings of art and life happily cohabitating." (Ibid) . 6. Fred Sandback, quoted in 74 Front Street: The Fred Sandback Museum, Winchendon, Massachusetts (New York : Dia Art Foundation , 1982), p. 4. 7. While a student at Yale School of Art and Architecture, in 1967 Sandback took courses from both Robert Morris and Donald Judd. 8. Fred Sandback, quoted in 74 Front Street, p. 4. 9. Ibid . Selected Bibliography Fred Sandback (Zurich: Kunsthaus, 1985). Fred Sandback: Sculpture 1966-1986 Fred Sandback : Diagonal Construction/ (Mannheim: Kunsthalle, 1986). Broken Lines. Skulpturen und Fred Sandback Vertical Constructions Zeichnungen (Hannover: Kestner- (Mi.inster: Westfalischer Kunstverein, Gesellschaft, 1987). 1987). Fred Sandback Sculpture (New Haven The Art of Fred Sandback: A Survey and Houston : Yale University Art Gallery (Krannert, Illinois: Krannert Art Museum, and Contemporary Arts Museum, 1991). 1985) . 11 l. Untitled 1992 Acrylic yarn (terracotta) Collection of the artist 2. Untitled 1977/1996 Acrylic yarn (light blue) Collection of the artist 3. Untitled 1996 Six-part vertical construction Acrylic yarn (white) Collection of the artist 4. Untitled 1996 Site Map and Checklist 31 J 5 4 2 -- 10 I 8 9 7. Untit Bas re Acryli Collec 8. Untit Two-p Acryli Collec 9. Untit 1970/ Fred Sandback was born in Bronxville, New York, in 1943. After studying philosophy at I Bas relief, diptych Yale College, he entered the sculpture program at Yale University School of Art and Acrylic housepaint on wood panel Acryli Collec JO. Untitl Architecture, receiving a B.F.A., then, in 1969, an M .F.A .. Since the late sixties, Sandback has exhibited widely, both in the United States and abroad. Dia Center for the Arts has more than forty works by Sandback in its collection. Support for this exhibition has been provided by the members of the Dia Art Council, the major annual support group of Dia Center for the Arts. Mark Taylor will lecture on Sculpture on Thursday, April 3, 1997 at 6:30 pm at Dia. Collection of the artist 5. Untitled 1977 Four-part vertical construction Acrylic yarn (black) Collection Dia Center for the Arts 6. Untitled 1996 Acrylic yarn (light brown, dark gray) Collection of the artist Two-p Acryli Collec 11. Untitl Bas re Acryli Collec
Transcript
Page 1: Site Map and Checklist

1. F

red

Sand

back

, "R

emar

ks o

n m

y

Scul

ptur

e 19

66--

1986

," F

red

Sand

back

Scul

ptur

e 19

66-1

986,

(M

annh

eim

:

Kun

stha

lle,

1986

), p

. 12

.

2. I

bid

.

3. I

bid.

, pp

. 12

-13.

4. I

bid.

, p

. 13

.

5. S

andb

ack

and

a fr

iend

coi

ned

the

term

to d

efin

e sp

ace

that

was

"lit

eral

, fl

at­

foot

ed a

nd e

very

day.

The

ide

a w

as t

o ha

ve

the

wor

k ri

ght

ther

e al

ong

with

eve

ryth

ing

else

in

the

wor

ld,

not

up o

n a

spat

ial

pede

stal

. T

he t

erm

als

o in

volv

ed t

he i

dea

of u

tility

-tha

t a

scul

ptur

e w

as t

here

to

be N

ote

s activ

ely

enga

ged,

and

it h

ad u

topi

an

glim

mer

ings

of

art

and

life

happ

ily

coha

bita

ting.

" (I

bid)

.

6. F

red

Sand

back

, qu

oted

in

74 F

ront

Stre

et:

The

Fre

d Sa

ndba

ck M

useu

m,

Win

chen

don,

Mas

sach

uset

ts (

New

Yor

k:

Dia

Art

Fou

ndat

ion

, 19

82),

p. 4

.

7. W

hile

a s

tude

nt a

t Y

ale

Scho

ol o

f A

rt

and

Arc

hite

ctur

e,

in 1

967

Sand

back

too

k

cour

ses

from

bot

h R

ober

t M

orri

s an

d

Don

ald

Judd

.

8. F

red

Sand

back

, qu

oted

in

74 F

ront

Stre

et,

p. 4

.

9. I

bid

.

Sel

ecte

d Bib

liog

rap

hy

Fre

d Sa

ndba

ck (

Zur

ich:

Kun

stha

us,

1985

).

Fre

d Sa

ndba

ck:

Scul

ptur

e 19

66-1

986

Fre

d Sa

ndba

ck:

Dia

gona

l C

onst

ruct

ion/

(M

annh

eim

: K

unst

halle

, 19

86).

Bro

ken

Lin

es.

Skul

ptur

en u

nd

Fre

d Sa

ndba

ck V

erti

cal

Con

stru

ctio

ns

Zei

chnu

ngen

(H

anno

ver:

Kes

tner

-(M

i.ins

ter:

Wes

tfal

isch

er K

unst

vere

in,

Ges

ells

chaf

t, 19

87).

19

87).

Fre

d Sa

ndba

ck S

culp

ture

(N

ew H

aven

T

he A

rt o

f F

red

Sand

back

: A

Sur

vey

and

Hou

ston

: Yal

e U

nive

rsity

Art

Gal

lery

(K

rann

ert,

Illin

ois:

Kra

nner

t A

rt M

useu

m,

and

Con

tem

pora

ry

Art

s M

useu

m,

1991

).

1985

).

11

l. U

ntit

led

1992

Acr

ylic

yar

n (t

erra

cotta

)

Col

lect

ion

of th

e ar

tist

2.

Unt

itle

d 19

77/1

996

Acr

ylic

yar

n (l

ight

blu

e)

Col

lect

ion

of th

e ar

tist

3.

Unt

itle

d 19

96

Six-

part

ver

tical

con

stru

ctio

n

Acr

ylic

yar

n (w

hite

)

Col

lect

ion

of th

e ar

tist

4.

Unt

itle

d 19

96

Sit

e Map

and

Ch

eckl

ist

31 J

5

4

2 --

10

I

8 7

I 6

9

7.

Unt

itle

d 19

96

Bas

rel

ief

Acr

ylic

hou

sepa

int

on w

ood

pane

l

Col

lect

ion

of th

e ar

tist

8.

Unt

itle

d 19

92/9

6

Tw

o-pa

rt v

ertic

al c

onst

ruct

ion

Acr

ylic

yar

n (p

ink)

Col

lect

ion

of th

e ar

tist

9.

Unt

itle

d, d

iago

nal

(one

off

our)

1970

/96

Fred

San

dbac

k w

as b

orn

in B

ronx

ville

, N

ew Y

ork,

in

1943

. Aft

er s

tudy

ing

philo

soph

y at

I

Bas

rel

ief,

dip

tych

Yal

e C

olle

ge,

he e

nter

ed t

he s

culp

ture

pro

gram

at Y

ale

Uni

vers

ity S

choo

l of

Art

and

A

cryl

ic h

ouse

pain

t on

woo

d pa

nel

Acr

ylic

yar

n (c

ardi

nal

red)

Col

lect

ion

of th

e ar

tist

JO.

Unt

itle

d 19

77

Arc

hite

ctur

e, r

ecei

ving

a B

.F.A

., th

en,

in 1

969,

an

M.F

.A ..

Sin

ce t

he l

ate

sixt

ies,

Sand

back

has

exh

ibite

d w

idel

y, b

oth

in th

e U

nite

d St

ates

and

abr

oad.

Dia

Cen

ter

for

the

Art

s ha

s m

ore

than

for

ty w

orks

by

Sand

back

in

its c

olle

ctio

n.

Supp

ort

for

this

exh

ibiti

on h

as b

een

prov

ided

by

the

mem

bers

of

the

Dia

Art

Cou

ncil,

the

maj

or a

nnua

l su

ppor

t gr

oup

of D

ia C

ente

r fo

r th

e A

rts.

Mar

k T

aylo

r w

ill l

ectu

re o

n Sc

ulpt

ure

on T

hurs

day,

Apr

il 3,

199

7 at

6:3

0 pm

at D

ia.

Col

lect

ion

of th

e ar

tist

5.

Unt

itle

d 19

77

Four

-par

t ve

rtic

al c

onst

ruct

ion

Acr

ylic

yar

n (b

lack

)

Col

lect

ion

Dia

Cen

ter

for

the

Art

s

6.

Unt

itle

d 19

96

Acr

ylic

yar

n (l

ight

bro

wn,

dar

k gr

ay)

Col

lect

ion

of th

e ar

tist

Tw

o-pa

rt v

ertic

al c

onst

ruct

ion

Acr

ylic

yar

n (b

lack

)

Col

lect

ion

Dia

Cen

ter

for

the

Art

s

11.

Unt

itle

d 19

96

Bas

rel

ief,

dip

tych

Acr

ylic

hou

sepa

int

on w

ood

pane

l

Col

lect

ion

of th

e ar

tist

FR

ED

S

AN

DB

AC

K

Scul

ptur

e

( )

~ u >, ~ u 0 0 6:

,..:

r- ~ ii ',:

~

(

Sep

tem

ber

12, 1

996-

Jun

e 29,

1997

548

Wes

t 22n

d S

tree

t, N

ew Y

ork

Cit

y

Page 2: Site Map and Checklist

FR

ED

S

AN

DB

AC

K

Scul

ptur

e

"The

fir

st s

culp

ture

I m

ade

with

a p

iece

of

stri

ng a

nd a

litt

le w

ire

was

the

out

line

of a

rect

angu

lar

solid

.. .l

ying

on

the

floo

r. I

t w

as a

cas

ual

act,

but

it se

emed

to

open

up

a lo

t of

poss

ibili

ties

for

me,

" Fr

ed S

andb

ack

wro

te i

n 19

86, l

ooki

ng b

ack

over

tw

enty

yea

rs o

f

activ

ity t

o a

sem

inal

scu

lptu

re h

e ha

d ex

ecut

ed i

n 19

66.1

The

key

im

plic

atio

ns o

f th

at

dete

rmin

ing

impu

lse

rem

ain

at th

e he

art

of h

is p

ract

ice

toda

y. F

or, i

n w

antin

g to

cre

ate

scul

ptur

e th

at d

id n

ot h

ave

an i

nsid

e, h

e fo

und

thro

ugh

his

seem

ingl

y "c

asua

l ac

t" t

he

mea

ns w

here

by h

e "c

ould

ass

ert

a ce

rtai

n pl

ace

or v

olum

e in

its

full

mat

eria

lity

with

out

occu

pyin

g an

d ob

scur

ing

it."2

For

thre

e de

cade

s, S

andb

ack

has

purs

ued

thes

e go

vern

ing

insi

ghts

with

rem

arka

ble

cons

iste

ncy

and

inve

ntiv

enes

s, c

reat

ing

a bo

dy o

f w

ork

that

is

info

rmed

by

a si

gnat

ure

styl

e an

d ye

t, a

s a

resu

lt of

the

clos

e in

terd

epen

denc

e of

eac

h w

ork

with

the

arc

hite

ctur

al

site

in

whi

ch i

t is

real

ized

, ev

er d

iffe

rent

in

its m

anif

esta

tions

. Arg

uabl

y st

ill th

e be

st

com

men

tato

r on

his

wor

k, t

he a

rtis

t ha

s el

ucid

ated

his

abi

ding

wis

h "t

o be

in

som

e so

rt o

f

cons

titut

ing

mat

eria

l re

latio

nshi

p w

ith m

y en

viro

nmen

t " in

lim

pid

fort

hrig

ht t

erm

s: "

My

feel

ing

pers

ists

," h

e av

owed

, in

that

sam

e ar

ticle

fro

m 1

986,

"th

at a

ll m

y sc

ulpt

ure

is p

art

of a

con

tinui

ng a

ttitu

de a

nd r

elat

ions

hip

to t

hing

s ....

The

scu

lptu

res

addr

ess

them

selv

es t

o

the

part

icul

ar s

pace

and

tim

e th

at t

hey'

re i

n, b

ut i

t may

be

that

the

mor

e co

mpl

ete

situ

atio

n I'm

aft

er i

s on

ly c

onst

ruct

ed i

n tim

e sl

owly

, w

ith t

he i

ndiv

idua

l sc

ulpt

ures

as

its

cons

titue

nt p

arts

."3

Sand

back

has

sea

mle

ssly

int

egra

ted

olde

r w

ith n

ewer

pie

ces

for

his

odys

sey

thro

ugh

Dia

's

seco

nd f

loor

gal

lery

. H

e or

ient

s an

d gr

ound

s th

e vi

ewer

in

a pa

rtic

ular

pla

ce, a

spe

cifi

c

situ

atio

n, b

y m

eans

of

a st

ring

ent

sele

ctio

n fr

om h

is d

elib

erat

ely

circ

umsc

ribe

d le

xico

each

scu

lptu

re n

ewly

par

sed

for

the

site

. "I

don'

t fe

el t

hat o

nce

a pi

ece

is m

ade

, the

n it

' s

done

with

," h

e ex

plai

ned.

"I

cont

inue

to

wor

k w

ith o

lder

sch

emat

a an

d fo

rmat

s, a

nd o

ften

begi

n to

get

wha

t I

wan

t ou

t of

them

onl

y af

ter

man

y re

wor

king

s. T

houg

h th

e sa

me

subs

truc

ture

may

be

used

man

y tim

es,

it ap

pear

s ea

ch t

ime

in a

new

lig

ht.

It i

s th

e

mea

sure

of

the

rela

tive

succ

ess

of a

pie

ce,

not

nece

ssar

ily t

hat

a ne

w s

truc

ture

em

erge

s,

but

that

a f

amili

ar o

ne a

ttain

s, i

n its

pre

sent

man

ifes

tatio

n, a

par

ticul

ar v

ibra

ncy

or

actu

ality

.''4

The

cha

ract

er o

f an

y pa

rtic

ular

wor

k is

rel

ativ

e to

its

site

, th

e pr

opor

tions

and

for

ms

subt

ly

calib

rate

d in

res

pons

e to

the

arch

itect

onic

s of

the

area

eac

h in

habi

ts.

Bot

h th

e ac

tual

mea

sure

men

ts a

nd t

he t

one

or h

ue o

f th

e ya

m m

ay b

e ad

apte

d or

alte

red

as t

he a

rtis

t

k

\

~-

intu

itive

ly a

djus

ts a

wor

k w

ith e

ach

new

pre

sent

atio

n, t

o ea

ch n

ew l

ocat

ion

. In

thes

e

scul

ptur

es,

spac

e ta

kes

on n

ot o

nly

defi

nitio

n bu

t an

inc

orpo

real

pal

pabi

lity

, oft

en t

o

the

poin

t w

here

the

spe

ctat

or c

once

ntra

tes

less

on

the

edge

s , o

n th

e ya

m d

emar

catin

g

the

form

s, t

han

on th

e pl

anar

or

volu

met

ric

com

pone

nts

cont

aine

d w

ithin

. W

heth

er

tran

spar

ent

geom

etri

es o

r si

mpl

e lin

ear

traj

ecto

ries

, Sa

ndba

ck's

sc

ulpt

ures

une

quiv

ocal

ly

occu

py t

he s

ame

phys

ical

site

as

the

view

er.

Inha

bitin

g w

hat

the

artis

t ha

s du

bbed

"ped

estr

ian

spac

e"-t

he

ordi

nary

mat

ter-

of-f

act

spac

e co

exte

nsiv

e w

ith t

hat o

f th

e vi

ewer

and

of th

e si

te-t

hey

reve

al t

hem

selv

es o

ver

time,

fro

m d

iffe

rent

van

tage

s, a

nd a

ccor

ding

to d

iffe

rent

per

spec

tives

.5 T

he a

ppre

hens

ion

of h

is w

ork

thus

inv

olve

s a

proc

ess

of b

odily

base

d vi

ewin

g, a

phe

nom

enol

ogic

al e

xper

ienc

ing

of e

ach

piec

e in

situ

. Yet

San

dbac

k ha

s

been

car

eful

to

dist

ingu

ish

his

scul

ptur

e fr

om c

erta

in k

inds

of

inst

alla

tion

prac

tices

, m

any

of w

hich

als

o ev

olve

d fr

om M

inim

alis

t pr

ecep

ts. H

is w

ork

is n

ever

env

iron

men

tal,

if th

at

impl

ies

disr

egar

ding

the

con

text

. O

n th

e co

ntra

ry,

as h

e st

ates

: "It

inc

orpo

rate

s sp

ecif

ic

part

s of

the

envi

ronm

ent,

but

it's

alw

ays

coex

iste

nt w

ith t

hat

envi

ronm

ent,

as o

ppos

ed t

o

over

whe

lmin

g or

des

troy

ing

that

env

iron

men

t in

fav

or o

f a

diff

eren

t on

e.''

6

Bur

geon

ing

duri

ng t

he h

eyda

y of

Min

imal

ism

, Sa

ndba

ck's

w

ork

has

dist

ingu

ishe

d an

d

diff

eren

tiate

d its

elf

from

tha

t of

his

imm

edia

te f

orbe

ars

by h

is e

sche

wal

of

the

redu

ctiv

ely

liter

al a

nd o

f th

e co

ncre

te a

s its

pri

mar

y m

ode

of b

eing

. 7 H

e ex

plor

es m

ater

ial

rela

tions

hips

via

the

inco

rpor

eal

rath

er t

han

thro

ugh

phys

ical

mat

ter-

via

the

inte

rpla

y of

vac

ancy

and

volu

me-

whi

le

reco

gniz

ing

that

the

illus

ory

and

the

fact

ual

are

inex

tric

ably

int

ertw

ined

.

"Fac

t an

d ill

usio

n ar

e eq

uiva

lent

s,"

he

asse

rts:

''T

ryin

g to

wee

d on

e ou

t in

fav

or o

f th

e

othe

r is

dea

ling

with

an

inco

mpl

ete

situ

atio

n.''

8 E

labo

ratin

g on

this

, he

stre

ssed

, "I

n no

way

is

my

wor

k ill

usio

nist

ic. I

llusi

onis

tic a

rt r

efer

s yo

u aw

ay f

rom

its

fac

tual

exi

sten

ce

tow

ards

som

ethi

ng e

lse.

My

wor

k is

ful

l of

illu

sion

s , b

ut t

hey

don'

t re

fer

to a

nyth

ing.

"9

In c

hoos

ing

from

his

rep

erto

ire

thos

e th

ree-

dim

ensi

onal

w

orks

to

be i

nclu

ded

in th

is

exhi

bitio

n, S

andb

ack

elim

inat

ed e

arly

pie

ces

whi

ch u

tiliz

e m

etal

rod

s or

wir

e , fo

cusi

ng

inst

ead

on h

is n

ow p

refe

rred

med

ium

, acr

ylic

yam

. Whi

le f

or h

im y

am i

n its

elf

carr

ies

no

sign

ific

ant

conn

otat

ions

, its

slig

htly

fuz

zy, s

oft c

onto

urs

conj

ure

a le

ss c

risp

, le

ss r

igid

lin

e

than

tha

t pr

oduc

ed b

y m

etal

, jus

t as

its

mat

te s

urfa

ces

abso

rb r

athe

r th

an r

efle

ct l

ight

.

Tak

en t

oget

her

thes

e qu

aliti

es p

erm

it th

e pi

eces

mad

e fr

om y

am t

o co

exis

t m

ore

subt

ly

with

the

ir a

mbi

ence

tha

n di

d th

eir

pred

ece

ssor

s. T

he a

rtis

t al

so e

xclu

ded

from

thi

s

sele

ctio

n w

orks

em

ploy

ing

mul

ticol

ored

lin

es o

f th

e ki

nd t

hat h

ad p

reoc

cupi

ed h

im d

urin

g

the

mid

-eig

htie

s, w

orks

whi

ch f

orge

d a

high

ly d

ynam

ic r

elat

ions

hip

with

the

ir m

ilieu

x.

Into

thi

s fi

nely

wro

ught

mix

, he

has

intr

oduc

ed a

n en

tirel

y ne

w b

ody

of w

ork.

Com

pose

d so

met

imes

of

one,

som

etim

es t

wo

pane

ls,

thes

e sm

all,

pain

ted,

woo

den

wor

ks s

eem

to

assu

me

an i

dent

ity b

y dr

awin

g on

his

pri

ntm

akin

g pr

actic

es r

athe

r

than

on

his

thre

e-di

men

sion

al

scul

ptur

e. C

ompa

red

both

with

his

ow

n pl

astic

wor

k as

wel

l as

with

pri

nts

mad

e by

his

con

tem

pora

ries

, Sa

ndba

ck's

gr

aphi

c w

ork

is

rem

arka

ble

for

the

atte

ntio

n he

pay

s to

the

mat

eria

l pr

oces

s by

mea

ns o

f w

hich

eac

h

prin

t is

gen

erat

ed. T

hese

rel

iefs

sim

ilarl

y ev

oke

thei

r or

igin

s, t

hrou

gh s

tres

sing

bot

h

thei

r ph

ysic

ality

and

the

ir s

urfa

ce t

extu

res.

By

cont

rast

, th

ey a

re f

unda

men

tally

diff

eren

t fr

om h

is p

revi

ous

scul

ptur

e in

that

lin

e is

now

con

jure

d by

dra

win

g in

nega

tive-

by

elim

inat

ion

. Whe

ther

pri

ncip

ally

sha

dow

or

tone

, it

appe

ars

as a

n

abse

nce

as d

istin

ct f

rom

an

edge

or

linea

r tr

ajec

tory

. Alth

ough

qui

te s

mal

l in

siz

e,

thes

e re

liefs

hav

e a

dece

ptiv

ely

ambi

guou

s sc

ale,

lar

gely

bec

ause

in

cros

s-se

ctio

n th

e

dim

ensi

on o

f an

y si

ngle

lin

e is

roug

hly

com

men

sura

te w

ith t

hat

of a

ny d

raw

n,

near

by,

in y

am. T

he r

elie

fs,

ther

efor

e, a

ppea

r to

be

frag

men

ts o

f so

met

hing

vas

segm

ents

fro

m a

larg

er c

onte

xt,

yet ,

at t

he s

ame

time,

min

iatu

re o

bjec

ts.

Thr

ough

the

int

rodu

ctio

n of

the

se n

ew s

culp

ture

s, S

andb

ack

has

grea

tly e

nric

hed

and

com

plic

ated

the

lan

guag

e of

thi

s ex

hibi

tion

. With

in a

mat

rix

that

enc

ompa

sses

the

stri

ctly

lin

ear

alon

gsid

e pl

anar

and

thre

e-di

men

sion

al

form

s, f

ree-

stan

ding

and

wal

base

d sc

ulpt

ures

, to

geth

er w

ith h

ybri

ds t

hat

stra

ddle

the

se t

wo

zone

s, h

e ha

s

inco

rpor

ated

a b

ody

of w

ork

whi

ch e

xist

s on

and

in

rela

tion

to i

ts s

uppo

rtin

g pl

anar

surf

ace

and

yet

exte

nds

far

beyo

nd i

t int

o th

e su

rrou

ndin

g sp

ace.

Fac

t an

d ill

usio

n

have

bee

n ne

wly

int

erw

oven

, th

eir

inte

rdep

ende

nce

reve

aled

in

unex

pect

ed w

ays.

Mor

eove

r, b

y re

conf

igur

ing

once

mor

e th

e re

latio

nshi

p be

twee

n th

e em

pty

and

the

subs

tant

ive

, San

dbac

k ha

s cr

eate

d a

spac

e th

at h

as a

who

lly d

iffe

rent

sen

se o

f

corp

orea

lity

to i

t fro

m a

nyth

ing

foun

d hi

ther

to i

n hi

s ar

t . In

the

se r

elie

fs,

he

pers

uade

s us

that

the

app

ariti

on o

f sp

ace

deri

ves

not

from

the

lin

ear

nega

tive

, but

from

the

phy

sica

l pl

ane

betw

een

thes

e ga

ps. G

iven

tha

t th

ese

linea

r tr

ajec

tori

es d

o

not

inha

bit

a si

ngle

pla

ne b

ut o

verl

ap,

and

henc

e ex

ist

in d

epth

, sp

ace

for

the

firs

t

time

in S

andb

ack'

s a

rt s

eem

s to

hav

e ne

ither

bou

ndar

ies

nor

limits

.

L.C

.


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