Urbane organic: a retrospective recalls the short, productive career of Eva Hesse, where Surrealism met Minimalism.

New York | May 22, 2006| | Copyright

IN 1968, the sculptor Eva Hesse (1936-1970) began a piece called Repetition Nineteen, a group of nineteen fiberglass "buckets." She rejected the first buckets made by the fabricator because they all looked the same. Each, she said, must have a distinct character. And the grouping must be randomly arranged and not fixed into an orderly grid. This sort of challenge to traditional Minimal aesthetics is what's typically emphasized about Hesse. It's the easiest way to discuss her art. Her pigeonhole. She's the seducer of the grid, the un-Judd, who uses Minimalist ideas but also ...

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