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Ursula Meyer interviews Lucy Lippard.

UM: Now I would like to know when in 1966 you [[strikethrough]] decided [[/strikethrough]] started to become interested in the eccentric abstraction - that was 1966, wasn't it when you organized...

LL: Yep,yep.

UM: That was at Dwan, no, I'm sorry, at Fischbach. And who were the participating artists?

LL: Keith Sonnier and Eva Hesse, Alice Adams, Don Pott, Gary Kuehn, Bruce Nauman and Frank Viner.

UM: Tell me [[strikethrough]] , can you give me any explanation if that is possible at all [[/strikethrough]] how, at the height of Minimalism, you [[strikethrough]] sort of [[/strikethrough]] saw this totally different avenue [[strikethrough]] of... [[/strikethrough]] -Eccentric Abstr.

LL: Well, [[strikethrough]]for one thing it wasn't totally different. I think that was [[/strikethrough]] one of the things that was most clear at the time was that [[strikethrough]] it [[/strikethrough]] the jump in the ecc abstr show [[strikethrough]] wasn't [[/strikethrough]] weren't so [[strikethrough]] much [[/strikethrough]] different from primary structures and the so-called minimal art [[strikethrough]] that was going on now [[/strikethrough]] as [[strikethrough]] it was [[/strikethrough]] they were very much influenced by it, and also trying to get away from it or rather open it up more. [[strikethrough]] All the pieces in that show, or [[/strikethrough]] most of the pieces in that show were [[strikethrough]] quite [[/strikethrough]] modular in form, quite clear, quite precise, repetitive, single [[strikethrough]] kind of [[/strikethrough]] things. But they also incorporated other aspects such as flexibility, change [[strikethrough]] ability [[/strikethrough]], [[strikethrough]] very [[/strikethrough]] exotic materials. There was especially a kind of concentration on inherent change [[strikethrough]] in materials [[/strikethrough]]. Gary Kuehn's pieces had (sounds [[strikethrough]] like sqirter or squarter [[/strikethrough]] a boxy shape and then a similar [[strikethrough]] (?) [[/strikethrough]] shape that "melted" onto the floor [[strikethrough]] so that it was runny [[/strikethrough]]. [[strikethrough]] Keith Sonnier's, the one that was in the show, didn't do this but [[/strikethrough]] several of the pieces that he was working on then inflated and deflated, [[strikethrough]] so that [[/strikethrough]] or there'd be a boxy form and [[strikethrough]] another form [[/strikethough]] a soft that inflated and deflated [[strikethrough]] connected [[/strikethrough]]. Eva Hesse's was a series of grey panels [[strikethrough]] . [[/strikethrough]]

[[strikethrough]] UM: Maybe you have some pictures. [[/strikethrough]]