LATE LAST
DECEMBER, halfway through the Museum of Modern Art's de Kooning retrospective, John Chamberlain's sculpture irresistibly sprang
to mind — as if the Dutchman's extraordinary
mid -»50s abstractions (Interchanged, 1955; Gotham News, 1955; The Time of the Fire, 1956) had conjured their three - dimensional counterparts made from the remnants of crushed automobiles.