I like that area that isn't
black or white, I like the grays, because I think there's just more fun to be had in not playing one
obvious line.»
Some of those I'd been most drawn to appeared reduced, hardened and flattened, a little too
obvious: the 1973 expanse of white Enamelac on an aluminium base that shows in a thin
line down the left - hand side and along the bottom; a row of square pieces from the same year, their fat L - shapes of
black (oxidised copper, apparently) set off by smaller white baked - enamel squares; and 1985's Catalyst III, with its steel bolts and thin, intermittent
lines of
black enamel seeming to divide the aluminium base and contain it in a pointedly incomplete frame.