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
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
n
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
t
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
l
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
.