Abstract
“Master of a Movement Manqué”—the title of Brian O'Doherty‘s eloquent 1966 article on Budd Hopkins—was well chosen at the time,1 but with almost twenty-five years of hindsight a case could now be made for substituting “détourné” for “manqué” in his description. Rather than exemplifying a “missing” movement, Hopkins's paintings from the 1960s and 1970s prefigure much that is found in current approaches to abstract—particularly geometric—painting.
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