In a multitudinous, barely focused art world, tempted, harassed, validated, and supported by market forces, the place of the art critic is maddeningly difficult to pin down. The profession, such as it is, is in a state of perpetual flux, with marginalization an always looming possibility.
Something quite striking has happened in the world of art. It is not, as one might expect, something that has suddenly appeared, but rather something that is no longer there.
In pondering the condition of art and the flood of associated language made possible by global digital connectivity, a proposition has been floatedone that allows for two aligned readings and two answers to the questions it raises.
Mel Bochner, one of the founders of the Conceptual Art movement of the mid-60s, and quite possibly the most inventive, clear-headed, and thought-provoking artist of that group, is showing his language-based paintings and drawings this spring and summer at the Jewish Museum.
I know that I am scarcely alone in my admiration and respect for Betsy Baker. In my case, that appreciation is leavened with a very large helping of gratitude.