Abstract
over.1 Tafuri was evaluating various attempts to replay such moves by the neo avant-gardes of the 1970s, mainly in the United States. And in a sense, he was right. His text, titled Ashes of Jefferson, charted the exhaustion of the avant-garde project by way of its built-in contradictions, as exemplified by the Gray/White debate, which overtook the American academy in the early 1970s. On one side of this melancholic contest over the stylistic legacy of architectural modernism were the New York Five, led intellectually by Peter Eisenman and including architects like Richard Meier and Michael Graves, all of whose work at the time mined the abstract, protolinguistic grammars of prewar (or white) modernism in almost exclusively formal terms. The other (gray) side, led by Robert A. M. Stern with Robert Venturi and Denise Scott Brown
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