Abstract
My early art history training in the late 1960s was largely in the formalist tradition. Abstract Expressionism, Color Field, Minimalism-elegant, pure, pristine art for art's sake, unencumbered by machines or notions of the ephemeral, defined my comfortable frame of reference. I was aware of the Happenings, the Nine Evenings at the New York Armory, the work of John Cage and Merce Cunningham, and the pioneering efforts of Nam June Paik, but I viewed all of that as peripheral to my touchstones: contemporary art of Manhattan's uptown galleries. My tastes and interests began to expand when I joined the staff of Experiments in Art
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