If Michael Fried argues, in “Art and Objecthood” (1967), that the very best abstract formalist paintings and sculptures of the day are absolutely authoritative, in their own right and on their own terms, and stand in no need whatsoever of public approval or applause, . . .
Tin Lizzie Green (1964)
Black Series II (1967)
Sir Anthony Caro
Sculpture 2 (1962)
. . . what, then, would Fried want us to make of the ‘music’ of John Cage, Gyorgy Ligeti and Steve Reich?
And, further, what would Fried want us to think of ‘sculptures’ such as those of Richard Serra?