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8.

Thereafter, the artist is popularly expected to defend himself and his art in theme of the "promises" of the movement to which he and his effort have been allegedly consigned by the uninformed critics and curators who had contrived the epithetical abuse to begin with.
Any artist who has appeared in public anywhere in the country and even in Europe can recognize the intolerable condition of misinformation which I have described. (In a note from Chicago, one layman admonished me to use one color, yellow, not two as in the present installation if I wished to be regarded yet as a true "minimalist.") Also, this condition is a reason for the consistently ridiculous failure of critically - curatorially controlled panel discussions. When Barbara tried to promote her forced "new aesthetic" attitude on the Washington Gallery of Modern Art artist's panel last Spring, it was mostly rejected by three of the four of us involved. And, of course, the opinion of the fovertly, Ron Davis, did not matter because it had already been "sold" and was being delivered for political purposes. (Noticeably, only Ron and Barbara read from prepared papers.) But, what is more interesting, the strangers in the audience who spoke completely rejected