Abstract
As the fiftieth anniversary of the end of World War II approaches, literature on postwar art and culture is still flourishing. An interest in Abstract Expressionist painting has played an important part in recent attempts to contextualize abstraction within the sociopolitical matrix of the war's aftermath and cold war politics of the 1950s. Sculpture, however, is frequently marginalized and, when discussed in art-historical literature, dismissed as secondary by postwar culture makers.
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