This exhibition curated by Saul Ostrow, brings together works by a group of artists whose approach to abstract art was informed in the late 1950s- mid 1960s by a growing opposition to the painterly frivolousness of Abstract Expressionism’s second generation. These artists sought to redirect abstract art’s disposition by securing a sense of specificity. Most notably two dominant – yet not definitive views emerged; these were associated with the young artist/critic, Donald Judd and the older critic, Clement Greenberg. Yet, as we know dominant practices do not develop in isolation, nor are they the product of a single concerted effort or cause. Subsequently, during this period of transition many artists came to work outside what would become the canon of the 1960s.
With the great critical divide that rendered the Formalists (color field/ hardedge), Literalists (minimalism), and Neo-Dadaists (Pop) as the art historical canon, the variety of perspectives and critical positions that vied for attention have been lost or forgotten. Specific Form is a sampling of those artists whose works stand beside those of the minimalist, pop, and color-field. As such each of these artists synthesized their own strategies. What is of significant interest at this time is their works also stress the imagistic and optical nature of abstract art.