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Lippard -9

such an artist was "rated". You start out there i[[strikethrough]]s[[/strikethrough]]f you're writing; you sort things out by value judgements and that's where reviewing is at, which is a dman [[damn]] good reason not to review for long. No critic with any conscience can continue to review [[strikethrough]]and[[/strikethrough]] or to jury. Finally, if you respect the art it becomes more important to[[strikethrough]]t[[/strikethrough]] get out the information about the art, accurately; probably the best way of doing that is through the artists. Let the readers make their own distinctions about tht e extent to which the artist is slinging it. That way at least they have to look at his work too. That way they're getting first-hand rather than second-hand information.

I'd like to do a magazine, or exhibition, or whatever you want to call it, but a continuing thing, anyway, which would take the form of randomly organized loose index cards, like the catalogue for the Seattle-Vancouver show ("557,087 and "955,000"). It doesn't have to be published in one place and it needs no editor, just a person in each place who will see it through the printers and get it mailed out. Artists from all over the world would [[strikethrough]] mail in[[/strikethrough]] send information about their work, or ideas [[strikethrough]] they had [[/strikethrough]] they'd like to get out, or whatever they wanted [[strikethrough]] , [[/strikethrough]] a photo graph or a photo of something executed or projected painting, sculpture, print, earthwork or anything else. In a sense it would also be a sort of historical safeguard, or copyright. The artist wouldn't have to wait around for a critic to find or to like his work. Now, a New York artist has access to the media where artists from other places don't. Maybe this would help equal things out. The information would be sent to one of the several central places, here, and 1 Europe nad Lati America and Canada, and as soon as there were 100 cards in any one place, they'd be sent to the printer and be sent back out. This could happen every week, month or three days, depending on when the 100 were accumulated. Anything you didn't like you could throw out. Anything you kept you could file separately under the artist's name and that would be that. There wouldn't be movements emphasized, there would be artists.

One objection to this idea is that there'd be a lot of shit in it. Of course there'd be alot of things you don't want, because