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Finally, an exhibition of Painting with a capital "P" that includes those pesky lesser disciplines like photography, sculpture, installation and architecture. "As Painting: Division and Displacement," May 12-Aug. 12, 2001, at the Wexner Center for the Arts in Columbus, Oh., features 110 works by 26 artists that illuminate painting's "flexible boundaries." Organized by the Wexner and co-curated by Ohio State University professors Philip Armstrong, Laura Lisbon and Stephen Melville, the show promises to be a theoretical challenge, not least for featuring a group of neglected (in the U.S.) French artists from the "Support-Surface" movement of the 1960s. Wexner Center director Sherri Geldin, the show "might at first perplex, even defy, those seeking cogent connections," while Melville writes in the accompanying 280-page catalogue that "there's a good bit of work here that does not seem to partake of any of the elements associated with painting." The catalogue also contains a little-known set of notes by Jacques Lacan on the painting of François Rouan.

About half of the participants are from France and a few are from Germany. The artists in the show are Polly Apfelbaum, Martin Barré, James Bishop, Mel Bochner, Christian Bonnefoi, Daniel Buren, André Cadere, Jean Degottex, Daniel Dezeuze, Moira Dryer, François Dufrêne, Simon Hantaï, Donald Judd, Imi Knoebel, Sherrie Levine, Agnes Martin, Michel Parmentier, Gerhard Richter, François Rouan, Robert Ryman, Robert Smithson, Anne Truitt, André Valensi, Claude Viallat, Jacques Villeglé and James Welling.

A symposium is planned for May 17-19, 2001; participants include Harvard art department chair Yves-Alain Bois, Columbia U. prof Rosalind Krauss and Centre Georges Pompidou director Alfred Pacquement.

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As Painting: Division and Displacement exhibition catalogue