Robert Barry

GALERIA JAQUELINE MARTINS ROBERT BARRY

Robert Barry

30.03 - 18.05.2019

R. DR. CESÁRIO MOTA JR, 443 — CEP — 01221-020 — +55 11 2628.1943 GALERIA JAQUELINE MARTINS ROBERT BARRY

Bio Robert Barry

New York, 1936. Nova York, 1936. Lives and works in New York. Vive e trabalha em Nova York.

Robert Barry is, since the mid 1960’s, one of the most important names in North-American Robert Barry é, desde os anos 1960, um dos maiores nomes da arte conceitual norte- conceptual art. americana.

After beginning his career with works that presented groups of monochromatic paintings Após um início de carreira em que utilizava pinturas monocromáticas, e sua disposição in such a way that they could enhance the exhibition space’s characteristics, Robert em conjunto, para realçar as características do espaço expositivo junto ao espectador, Barry completely abandoned conventional painting by 1967 and started a brief series of Barry abandonou totalmente a pintura convencional em 1967 e deu início a uma breve installations made of transparent nylon cords, inert gases, radiation and electromagnetic série de instalações compostas por ﬁos de nylon transparentes, gases, radiação e energia energy. All invisible materials through which the artist aligned himself with the quest for the eletromagnética. Todos materiais invisíveis com os quais o artista se alinhava à busca pela “dematerialization of the art object”, one of the main ideas that drove the development of “desmaterialização do objeto” na arte, um dos principais eixos da arte conceitual nos anos 60. 1960’s conceptual art. Em 1969, em mais uma mudança radical, Barry abandona esta série de trabalhos invisíveis In 1969, in another radical change, Barry abandoned his series of invisible works (convinced (convicto de que eles ainda se relacionavam a uma dimensão física e mensurável) e passa a that they were still related to a physical and measurable dimension) and begun to incorporate incorporar textos em seus trabalhos, ambicionando uma comunicação mais direta com os es- texts into his art, aiming to connect more directly with the spectators and to create a dynamic pectadores e uma dinâmica em que os próprios pensamentos do público em relação aos textos in which every though or reaction coming from the public in relation to the artist’s texts would do artista passam também a se tornar parte do trabalho. Desde então, foi através da lingua- became part of the work. Since then, it was through this textual language, its graphic and gem direta e textual, sua potência gráﬁca e comunicativa que seus trabalhos se desenvolveram communicative power that Barry’s work developed and made him (along with names like Law- e tornaram Barry (ao lado de nomes como Lawrence Weiner, Ed Ruscha, John Baldessari e Mel rence Weiner, Ed Ruscha, John Baldessari and Mel Bochner) one of the great North-American Bochner) um dos grandes artistas conceituais norte-americanos a trabalhar com as diversas conceptual artists to work with the many potentialities inside written text. potencialidades do texto escrito.

In his 55-year career, Robert Barry has participated in exhibitions inside galleries and institu- Em seus 55 anos de carreira, Robert Barry participou de exposições em galerias e instituições tions across Europe, United States and Asia. His work is in renowned collections, including the por toda a Europa, Estados Unidos e Ásia. Seu trabalho está em renomadas coleções, inclu- Guggenheim Museum (New York), MoMA (New York), Stedelijk Museum (Amsterdam), Kunst- indo o Museu Guggenheim (Nova York), MoMA (Nova York), Stedelijk Museum (Amsterdam), museum Basel (Switzerland), Center Georges Pompidou (Paris), Sammlung Ludwig Collection Kunstmuseum Basel (Suiça), Centre Georges Pompidou (Paris), Sammlung Ludwig Collection (Cologne), Museum of Contemporary Art (Los Angeles), among others. (Colônia, Alemanha), Museum Of Contemporary Art (Los Angeles), entre outros. GALERIA JAQUELINE MARTINS ROBERT BARRY

Obras /Works Robert Barry 6956 Sem título / Untitled 201 acrílica sobre tela/acrylic on canvas Ed.: unique 30,5 x 30,5 cm cada 6956 Sem título / Untitled 2018 6957 Sem título / Untitled 2018 acrílica sobre painel de madeira/acrylic on wood panel Ed.: unique 30,5 x 30,5 cm cada 6957 Sem título / Untitled 2018 6958 Sem título / Untitled 2018 acrílica sobre tela/acrylic on canvas Ed.: unique 122 x 122 cm 6959 Sem título / Untitled 2018 acrílica sobre tela/acrylic on canvas Ed.: unique 122 x 122 cm 6960 Sem título / Untitled 201 acrílica sobre tela/acrylic on canvas Ed.: unique 122 x 122 cm 6961 Sem título / Untitled 2018 acrílica sobre tela/acrylic on canvas Ed.: unique 122 x 122 cm cada (díptico)/122 x 122 cm each (diptych) 6962 Sem título / Untitled 2018 acrílica sobre painel de madeira/acrylic on wood panel Ed.: unique 30,5 x 30,5 cm 6965 Sem título / Untitled 2018 acrílica sobre papel/acrylic on paper Ed.: unique 66 x 66,5 cm/66 x 66 cm as

6964 6963 7010 Sem título / Untitled 2019 vinil metálico sobre parede/metallic vinyl on wall Ed.: unique dimensões variáveis/variable dimensions 7010 Sem título / Untitled 2019 DETALHES/DETAILS 7007 Sem título / Untitled 2019 vinil translúcido sobre vidro/translucent vinyl on glass Ed.: unique dimensões variáveis/variable dimensions 7007 Sem título / Untitled 2019 DETALHES/DETAILS 7009 Sem título / Untitled 2019 aço inoxidável/stainless steel Ed.: unique 5 x 245 x 910 cm 7009 Sem título / Untitled 2019 DETALHES/DETAILS Vista da exposição / Exhibition view 2019 Robert Barry

Galeria Jaqueline Martins, São Paulo Vista da exposição / Exhibition view 2019 Robert Barry

Galeria Jaqueline Martins, São Paulo GALERIA JAQUELINE MARTINS ROBERT BARRY Nonada: uma reflexão sobre Robert Barry

Quando cheguei em casa esperava uma surpresa e, como não a encontrei, fiquei, é claro, surpreendido.

Ludwig Wittgenstein, Cultura e Valor, c. 1944

No primeiro parágrafo dedicado a Robert Barry na Wikipedia, lemos que para o artista A “palavra”, tal como na obra Sem título (2019) instalada ao longo das escadas da “o nada parece a coisa mais potente do mundo.” Considerando que esse não é um comentário galeria, está colocada em uma condição diversa daquela do sintagma literário, um patamar irônico, o que pode nos dizer sobre essa sua mostra em São Paulo? narrativo e hierarquizado, mais próxima do paradigma da poesia. E, mesmo ali, ela tem sua razão A crença na potência do “nada” pode ser pensada a partir de uma contextualização dos de ser em algo para além de sua tradução literal, quase como se viesse a questionar a própria propósitos da chamada Arte Conceitual, para a qual a ideia, a infraestrutura filosófica de uma arbitrariedade das convenções que garantem o seu processo de significação, porque opera obra é determinante não apenas de seu significado, mas de sua própria materialidade. Nesse numa “contiguidade” com o real, é como que uma marca ou índice que não “representa” algo, sentido, aproximar-se ou incluir no pensamento da obra a potência do nada conduz para algo apresenta-o instaurando-o na atualidade do público. em que, por exemplo, o suporte tradicional como a pintura ou a escultura pode estar sendo Tudo isso ocorre também por uma ampla rede de aleatoriedade: o acaso parece posto à prova em um processo de “desmaterialização”, uma mudança completa de ênfase das ter, como se percebe em vídeo do artista montando uma de suas exposições, um papel tão questões morfológicas, estritamente formais, para considerações radicais sobre a função daquilo importante quanto o “nada”, permitindo a flutuação de expressões que na sequência em que na sociedade, como a arte opera em termos de um questionamento de suas próprias bases são dispostas ou enunciadas sustentam indefinições, rupturas, contradições, afirmações linguísticas e como ela pode existir justamente no limite de uma quase “inexistência”. surpreendentemente efêmeras ou estranhamente incompletas no sentido de não preencherem Vejam-se, os itens iniciais de uma sequência de cinquenta minutos de sua obra expectativas no automatismo da leitura, nos obrigando a reaproximações em que podemos ler de sonora Otherwise (1981): here it is; nonsense; inevitable; deny; sometimes; touching; endless; maneiras diversas, pelo avesso, por espelhamentos e inferências, a partir não só dos olhos que understand... Entre eles, intervalos nada ansiosos, longos segundos em que se escuta com passam em revista, mas do corpo que se aproxima de um vocábulo ou sentença. precisão os ruídos do vinil. Surgem individualmente e parecem introduzir uma sequência, mas “Private toughts transmitted thelepatically by the artist during the exhibition.” Algo a ligação entre as partes é análoga à ordem dos componentes internos de um trabalho de Carl assim poderia nos atrair e enredar no campo do slogan. Diferentemente, acaba por nos propiciar André ou Donald Judd - “one thing after another”, ou mesmo o noema “what you see is what you uma experiência que fraciona e modifica a expectativa de uma absorção imediata, à medida see” -, algo essencialmente crítico, metalinguístico. Não temos uma da frase que surge como um em que o campo semântico que se forma em torno imprime-se por uma objectualidade que se organismo independente, um verso famoso aqui como o de Carlos Drummond de Andrade, “No consome ou se esvai no teor afinal completamente abstrato do conjunto. O fato é que a operação meio do caminho tinha uma pedra”, no qual a perplexidade diante do mais prosaico apoia-se em de transmitir telepaticamente pensamentos privados através da exposição é, no fundo, a mais uma estrutura de representação completa, na qual os signos estão encadeados e ativos no lugar essencial envolvendo a atividade do artista contemporâneo. A menção à telepatia, à parte certa de coisas ausentes. Pelo contrário, o contexto mais específico em que os componentes são dados comicidade, resume um metier carregado de um savoir faire que paira além, ou aquém da nessas proposições de Barry – inclusive nos termos de um suporte praticamente sem espessura, manualidade, dos gestos mais virtuosos que se pode imprimir através da matéria e penetra no por vezes transparente –, as condições físicas de exposição é que dão como que a alíquota de terreno das utopias, próximo ao território da psicografia em que um autor extinto é presentificado um significado maior. O próprio título, no caso, indica uma “outra maneira”, uma alternativa, certa não mais pelo mágico ou pelo místico, mas por ele mesmo, pensando as condições mais obstinação que orienta todo o trabalho, “focuses on escaping the previously known physical limits intrínsecas à sua criação. of the art object in order to express the unknown or unperceived.” Rafael Vogt Maia Rosa GALERIA JAQUELINE MARTINS ROBERT BARRY Nonought: a reflection on Robert Barry

When I came home I expected a surprise and there was no surprise for me, so of course, I was surprised.

Ludwig Wittgenstein, Culture and Value, c. 1944

The first paragraph on Robert Barry on Wikipedia will let you know that for him, “nothing The “word,” as in the work “Untitled” (2019) installed along the gallery’s hallway and seems to me the most potent thing in the world.” Considering this isn’t a tongue-in-cheek stairs, is in a different position than that of the literary syntagma, a narrative, hierarchized place comment, what does it tell us about this showing of his work in São Paulo? that’s closer to the paradigm of poetry. And even here, it has its reason of being other than its The belief in the potency of “nothing” can be construed by contextualizing the purposes literal translation, almost as if it were questioning the very arbitrariness of the conventions that of so-called Conceptual Art, whereby the idea, the philosophical infrastructure of an artwork ensure its signification process, because it operates “contiguously” with the real, like a mark or is determinant not only to its meaning, but to its very materiality. Thus, relying on the potency index which, instead of “representing” something, presents it by adding it to the actuality of the of nothing, or including it in the thinking that leads to a work of art, leads to something in audience. which, for instance, traditional mediums, like painting or sculpture, might be put to the test in a All of that also takes place through a wide array of randomness: chance, as one can tell “dematerialization” process, a total shift in emphasis from morphological, strictly formal issues from footage of the artist setting up one of his exhibits, plays as big a role as “nothing,” allowing to radical considerations on its function in society, on how art operates in terms of questioning its for the floating of expressions which, in the sequence in which they are arranged or uttered, own linguistic foundations and how it can exist precisely on the edge of a near “inexistence.” underlie undefinitions, ruptures, contradictions, surprisingly ephemeral or strangely incomplete Let us consider the items at the beginning of a 50-minute sequence from his audio statements, in the sense that they don’t meet expectations in the automatism of reading, thereby piece Otherwise (1981): here it is; nonsense; inevitable; deny; sometimes; touching; endless; forcing us to re-approach said reading in various ways, from back to front, through mirroring and understand... In between those items are completely anxiety-free intervals, long seconds where inferences, relying not only on the eyes that peruse, but on the body that approaches a word or one clearly hears the noise of vinyl. The items come up individually and seem to introduce sentence. a sequence, but the connection between the parts is analogous to the order of the inner “Private thoughts transmitted telepathically by the artist during the exhibition.” components in a piece by Carl André or Donald Judd – “one thing after another,” or even the Something of this sort might otherwise attract and involve us in the realm of slogans. But what noema “what you see is what you see” –, which is critical and metalinguistic in essence. Nothing it does is enable an experience which fractures and modifies the expectation of immediate in the sentence emerges as a standalone organism, a famous verse like Carlos Drummond de absorption, as the semantic field that forms around it becomes imprinted by an objectuality Andrade’s “In the middle of the road there was a stone,” where perplexity regarding the utter which consumes itself or wanes in the ultimately completely abstract character of the whole. The commonplace is underpinned by a structure of complete representation, where signs are in queue fact is that the operation of telepathically transmitting private thoughts in the exhibition is, deep and active instead of absent things. On the contrary, the more specific context of components in down, the most essential one concerning the activity of the contemporary artist. The mention of these propositions by Barry – including in terms of a medium virtually devoid of thickness, at times telepathy, apart from the comical overtones, sums up a métier charged with a savoir faire which transparent –, the exhibition’s physical conditions are what provides a kind of aliquot for a bigger hovers beyond – or short of – manuality, of the more virtuous gestures one can imprint through meaning. The title itself here indicates “another way,” an alternative, a certain obstinacy that matter, and enters the terrain of utopias, nearer the territory of psychography where an extinct drives the whole work, “focuses on escaping the previously known physical limits of the art object author is presentified, no longer by the magical or mystical, but by himself, considering the most in order to express the unknown or unperceived.” intrinsic conditions to its creation.

Rafael Vogt Maia Rosa GALERIA JAQUELINE MARTINS ROBERT BARRY

Exposições recentes Recent exhibitions Carrier Wave, 1969 Vista da exposição / Exhibition view 2018 50 Years: An Anniversary

Paula Cooper Gallery, New York Vista da exposição / Exhibition view 2015 Works 1962 until present

Galerie Greta Meert, Brussels Vista da exposição / Exhibition view 2015 Works 1962 until present

Galerie Greta Meert, Brussels Vista da exposição / Exhibition view 2015 Bethlehem Baptist Church Installation

Schindler Church, Los Angeles Vista da exposição / Exhibition view 2015 Bethlehem Baptist Church Installation

Schindler Church, Los Angeles Vista da exposição / Exhibition view 2012 Light and Dark – The Projections of Robert Barry 1967 – 2012

Galerie Yvon Lambert, Paris GALERIA JAQUELINE MARTINS ROBERT BARRY

Trabalhos históricos Historical works No início de sua carreira em meados dos anos 60, as primeiras obras de Robert Barry que começaram a ter destaque no contexto institucional americano vinham da série Untitled, composta por conjuntos de pinturas monocromáticas. Neste trabalho, Barry se utilizava da disposição das telas na parede para realçar as características do espaço expositivo junto ao espectador. É possível já identiﬁcar aí indícios do caminho conceitual que o artista tomar- ia alguns anos depois, onde o objeto (no caso, as pinturas) não é a preocupação central da proposta mas, sim, os possíveis pensamentos que o observador pode vir a ter do entorno, do espaço expositivo e até mesmo dos limites para o que pode ser um trabalho de arte.

At the beginning of his career in the mid-1960s, Robert Barry’s earliest works that came to prom- inence in the American institutional context derived from the Untitled series, consisting of sets of monochrome paintings. In this work, Barry used the arrangement of the paintings on the wall to highlight the characteristics of the exhibition space next to the viewer. It is possible to see here indications of the conceptual path that the artist would take a few years later, where the object (in this case, paintings) is not the proposal‘s central concern, but rather the possible thoughts that the observer may have of the environment, the exhibition space and even the limits to what a work of art can be.

Untitled 1967 Testando os limites da materialidade, em 1969 Barry produziu um pôster para uma exposição que não tinha nem local nem data. O endereço é uma caixa de correios, e o número de tele- fone da galeria é um serviço de atendimento com uma mensagem gravada descrevendo o “trabalho”. O trabalho foi o lançamento de cinco volumes de gases nobres inertes, em vários locais ao redor de Los Angeles, onde se difundiriam e se expandiriam naturalmente no infinito. Enquanto fotografias documentais foram tiradas da ação dos lançamentos, a única evidência fisicamente tangível do trabalho permaneceria como um cartaz, publicado pelo galerista de Nova York Seth Siegelaub, que declarou: “Ele fez algo e está definitivamente mudando o mun- Inert Gas Series:Argon, 1969 do, mesmo que de maneira ínfima. Ele colocou algo no mundo, mas você simplesmente não consegue ver ou medir. Algo real, mas imperceptível.”

Testing the limits of materiality, in 1969 Barry produced a poster for an exhibition that had neither a location nor a date. The address is a post-office box, and the telephone number for the gallery is an answering service with a recorded message describing the “work.” The work was the release, by the artist, of five measured volumes of odorless, colorless, noble gasses into the atmosphere in various locations surrounding Los Angeles, where they would diffuse and expand naturally into infinity. While documentary photographs were taken of the action of the releases, the only physically tangible evidence of the work would remain the poster, published by the New York art dealer Seth Siegelaub, who stated, “He has done something and it’s definitely changing the world, however infinitesimally. He has put something into the world but you just can’t see it or measure it. Something real but imperceptible.”

Inert Gas Series 1969 Em 1969 Robert Barry participou da importante exposição “When Attitudes Become Form”, com curadoria de Harald Szeemann. A exposição coletiva foi uma das primeiras a jogar atenção no processo de desenvolvimento dos trabalhos, e não nos objetos ﬁnais em si. Entre os artistas participantes (Joseph Beuys, Daniel Buren, Laurence Wiener, Eva Hesse, Bruce Nau- man, Richard Serra, entre outros) o trabalho apresentado por Barry impressionava pelo fato de não fornecer qualquer evidência visual de sua existência, o público era apenas informado da ação realizada pelo artista: ele liberou energia radioativa no último andar do Kunsthalle Bern, Uranyl Nitrate (UO2 (NO3)2).

Em 2009, Barry falou sobre o trabalho em entrevista com Mathieu Copeland: “Até onde sei, ele ainda está lá! Tempo é a essência do trabalho”.

In 1969 Robert Barry participated in the seminal exhibition “When Attitudes Become Form”, curated by Harald Szeemann. The show was of the first to focus attention more in the process of work’s conception than in the final work itself. Among all artists involved (Joseph Beuys, Daniel Buren, Laurence Wiener, Eva Hesse, Bruce Nauman, Richard Serra, among others) Barry’s work was impressive because it had no visual evidence whatsoever, the public was only informed of what he had done: he deposited a radioactive element in a room on the top floor of the Kunsthalle Bern, Uranyl Nitrate (UO2 (NO3)2).

In 2009 Barry spoke about his work in an interview with Mathieu Copeland and stated: “As far as I know, it‘s still there! Time is the essence of this piece”.

Uranyl Nitrate (UO2 (NO3)2) 1969 Ao ﬁnal de 1969, Barry abandona seus trabalhos com gases (convicto de que eles ainda se Telepathic Pice 1969 relacionavam a uma dimensão física e mensurável) e passa a incorporar textos em seus trabalhos, ambicionando uma comunicação mais direta com os espectadores e uma dinâmica em que os próprios pensamentos do público em relação aos textos do artista passam também a se tornar parte do trabalho.

“Eu me afastei do uso da linguagem como descrição ou referencia a algo, ou discutir algum aspecto estético ou lingüístico em minha arte. Eu acho que foi depois que eu ﬁz o Telepath- ic Piece em 1969 e comecei a série It is… de desenhos de máquina de escrever, instalações de parede e projeções que eu pensei na frase como uma coisa em si. Eles eram frases sobre o que? Eles pareciam descrever algo e ainda nada, realmente, ou talvez algo na mente dos espectadores. O Interview Piece de 1969 lida diretamente com a questão dos pensamentos do espectador como elemento ativador do trabalho”

By the end of 1969, Barry abandoned his gas works (convinced that they were still related to a physical and measurable dimension) and begun to incorporate texts into his art, aiming to connect more directly with the spectators and to create a dynamic in which every though or reaction coming from the public in relation to the artist’s texts would became part of the work.

“I moved away from using language to describe or refer to something, or discuss some aesthetic or linguistic aspect in my art. I think it was after I did the Telepathic Piece in 1969 and started the It is… series of typewriter drawings, wall-pieces and projections that I thought of the sentence as a thing in itself. They were sentences about what? They seemed to describe something and yet nothing, really, or maybe something in the viewers’ mind. The Interview Piece from 1969 deals directly with the role of the viewer in my work”

Interview Pice 1969 Prospect 69 Kunsthalle Düsseldorf It is... series 1970 It is... series 1972 April 2, 1974

ROBERT BARRY AT YVON LAMBERT

Robert Barry’s current show at the Yvon Lambert Gallery in Paris is announced by a mailer that reads: “ROBERT BARRY presents three shows and a review by LUCY R. LIPPARD”. Ms. Lippard is an American art critic. The show itself consists of this review and of a box of some 150 4 x 6” index cards which constituted the catalogues of three exhibitions organized by Ms. Lippard from 1969-71, each titled according to the population of the city in which it was held: 557,087,Seattle, U.S.A.; 955,000,Vancouver, Canada; 2, 9742,453, Buenos Aires, Argentina (several cards from the latter have been vehemently canceled because instruc- tions were not followed in their printing).

From 1968 Barry has worked in almost invisible nylon cord, invisible but extant radiation, magnetic fields, radio carrier waves, telepathy, repressed knowledge, non-specific qualifica- tions defining undefined conditions. This exhibition is the third in a series of presentation pieces by Barry, the first two involving the work of artists James Umland and Ian Wilson. It is also part of another group, dating from [[underline]]1969[[/underline]], which comments on the use of [[strikethrough]] gallery space and the international gallery system for an art so dematerialized that it has no fundamental need of either one. The first of this group was a piece that announced: “During the exhibition the gallery will be closed”. In January 1971 Lambert showed a Barry piece that read: “Some places to which we can come, and for a while, ‘be free to think about what we are going to do’(Marcuse).”Reads” is the wrong term; Barry does not work with words; he communicates conditions. The newer work indicates an overlap rather than a gap between art and life, in the sense that it attempts to define (again by circling around something) the place of the artist in the world, not socially (through A exposição de Robert Barry, realizada em 1974 na Yvon Lambert Gallery em Paris, foi social impact is implied), but as an art-maker rather than as a person. Perhaps the most im- anunciada por uma carta que dizia: “ROBERT BARRY presents three shows and a review portant of the many questions raised by Barry’s work is simply: Does the artist have a place in the world, and, if so, is it changing? Is he/she simply a questioner or is he/she the imposer by LUCY R. LIPPARD”. A mostra em si consistiu-se de uma resenha e de uma caixa com of conditions upon the esthetic capacity of everyone else, without which the world would be cerca de 150 ﬁchas de 4 x 6” que constituíam os catálogos de três exposições organizadas quite a different place? por Lippard de 1969 a 1971, cada uma tinha como nome a população da cidade em que foi realizada: 557 087, Seattle, EUA; 955.000, Vancouver, Canadá; 2, 9742.453, Buenos Aires, And I have some questions of my own. Is a review which is not published in a journal but constitutes part of an exhibition in itself a fake review? Can it view itself objectively? Or is Argentina. it valid anyhow because people read it, because it does comment directly upon the show it is part of? Is the writer of such a review an artist even if he/she has made no art? If a writer calls what he/she does “criticism”, can anyone else call it art? Is the artist who “presents” a writer’s work as a minor part of his piece (the major part being the presentation per se) a critic himself? Is an artist ever not an artist if he/she says he or she is an artist? Does an artist have to make art? Is good art art that gives sensory pleasure alone? Is good art Robert Barry’s 1974 show at the Yvon Lambert Gallery in Paris was announced by a mail- art that questions? Is good art art that provokes? And finally, it doesn’t matter what this er that read: “ROBERT BARRY presents three shows and a review by LUCY R. LIPPARD”. review says. Its potential is confirmed by its existence rather than by its contents. The show itself consisted of a review and of a box of some 150 4 x 6” index cards which Lucy R. Lippard constituted the catalogues of three exhibitions organized by Lippard from 1969-71, each titled according to the population of the city in which it was held: 557,087,Seattle, U.S.A.; 955,000,Vancouver, Canada; 2, 9742,453, Buenos Aires, Argentina.

ROBERT BARRY presents 1974 three shows and a review by LUCY R. LIPPARD Ao longo dos anos 70 Barry percebeu que, utilizando frases, era inevitável que os ob- servadores ﬁcassem restritos à uma gama limitada de possibilidades. Algo que ele não desejava. A partir daí, ele decide usar palavras independentes como estratégia para ampliar ao máximo as possibilidades de leitura do observador.

“As pessoas reagiam a elas de uma maneira pessoal. Porque as palavras vêm de nós, elas fazem parte do nosso uso natural da linguagem. Eu acho que eles ressoam profun- damente dentro de nós. A partir desse momento, parei de usar a linguagem como texto e concentrei-me em palavras individuais.”

Words with blue circle (1974) é uma das primeiras experiências do artista com pro- jeções em salas escuras, onde a evidente imaterialidade do trabalho somada ao aspecto de permanente mutabilidade proporcionada pelo acender e apagar da projeção, conﬁr- maram a Barry que o seu trabalho deveria operar em torno dos pensamentos instigados na mente do observador, e não mais em ações ou objetos construídos pelo artista.

Throughout the 1970’s Barry noticed that, using sentences, his work would inevitably direct the observer to a limited set of possibilities. Something he didn’t want at all. From then on he decides to use independent words as a strategy to expand the observer’s reading possibilities to the maximum.

“People reacted to them in a personal way. Because words come from us, they are part of our natural use of language. I think they resonate deep inside of us. From this time, I stopped using language as text and focused on individual words.”

Words with blue circle (1974) is one of the artist’s first projection experiences, where the obvious immateriality of the piece, summed to the “perpetual change and mutability” aspect of it, confirmed to Barry that his work should be centered around ideas that could be formed into the viewer’s mind, and not on specific actions or objects.

Words with blue circle 1974 Untitled (1976) demonstra a libertação de Barry da forma “documental”, em que as palavras eram escritas em linha como texto em uma folha de papel. A disposição das palavras ao redor de um eixo cartesiano pode ser vista como evidência de que o artista ambicio- nava abandonar de vez a representação bidimensional e saltar para o espaço expositivo.

Untitled (1976) exempliﬁes Barry’s liberation from the “documental” form, in which words were written in lines, as text on a sheet of paper. The words disposition around the cartesian axis may be seen as evidence that the artist aspired to abandon for all the two-dimensional representation and jump out to the exhibition space.

Untitled 1976 GALERIA JAQUELINE MARTINS ROBERT BARRY

Artigos Press Clippings GALERIA JAQUELINE MARTINS ROBERT BARRY

2018

50 Years: An Anniversary Paula Cooper Gallery, New York

The cohesive and pioneering 1968 Benefit exhibition holds enduring potency as an exploration of nonobjective Conceptual art, and of art as a form of political activism. On view in “50 Years: An Anniversary” will be exemplary works including Sol LeWitt’s first wall drawing, Wall Drawing 1: Drawing Series II 14 (A & B)— now in the collection of SFMOMA—first executed for the gallery’s inaugural show. With its succinct and straightforward directive of “lines in four directions—vertical, horizontal, and the two diagonals,” the seminal 1968 work was revelatory in its frank temporality, disregard for issues of commercial viability, and denial of authorial exclusivity for a handmade artwork. A diptych by Jo Baer entitled Untitled (Vertical Flanking Diptych – Green), 1966 1974, contemporaneous to her work from the 1968 Benefit show, reflects Baer’s ardent agenda: “There is no hierarchy. There is no ambiguity. There is no illusion. There is no space or interval (time).” Also on view will be Carl Andre’s original 1968 work, composed of twenty-eight found bricks laid end-to-end directly on the floor, which challenged traditional conceptions of material, labor and value.

In keeping with the intention of the inaugural exhibition as a “forceful statement for peace”—as well as the gallery’s subsequent decades of political engagement—the anniversary show will be a benefit exhibition in support of March For Our Lives. Fou- nded in early 2018, March For Our Lives is dedicated to student-led activism around “50 Years: An Anniversary,” presented at the gallery’s new 524 West 26th Street location, ce- ending gun violence and the epidemic of mass shootings. As a synthesis of the radical lebrates the October 1968 opening of the Paula Cooper Gallery, the first art gallery in SoHo political and aesthetic shifts that were emerging in the world at that time, the 1968 at 96 100 Prince Street. The inaugural exhibition, organized by Robert Huot, Lucy Lippard exhibition bears resonance in our contemporary landscape. “50 Years: An Anniver- and Ron Wolin, benefitted the Student Mobilization Committee To End The War In Vietnam sary” aims to reexamine and recommit to those appeals for national change. On view and Veterans Against The War In Vietnam. The fiftieth anniversary show will include art- through November 3, 2018, the exhibition marks the first presentation at the gallery’s works from that time period by the original artists: Carl Andre, Jo Baer, Robert Barry, Bill new location at 524 West 26th Street. The temporary relocation continues a dynamic Bollinger, Dan Flavin, Robert Huot, Will Insley, Donald Judd, Sol LeWitt, Robert Mangold, narrative in the fifty-year history of the gallery, having occupied several spaces first in Robert Murray, Doug Ohlson, and Robert Ryman. SoHo from 1968 to 1996 and then in Chelsea from 1996 to the present, through expan- sions, relocations, and special presentations. GALERIA JAQUELINE MARTINS ROBERT BARRY

2015

Robert Barry THOMAS SOLOMON ART ADVISORY BETHLEHEM BAPTIST CHURCH 4901 Compton Avenue, Los Angeles November 1–December 13

In an abandoned church in a neglected neighborhood of South Central Los Angeles, Robert Barry summons the ghostly with fifty-one words of white vinyl (all works 2015). The relationship between his works’ open font, with its wide-stroked Century Gothic O’s and subtle widths, and this light-filled Rudolph Schindler–designed modernist ar- chitecture creates a sense of expansiveness in a structure of intimate reserve. The words, uninhibited by the oppressive structure of sentences, are thrown to the walls, bending around corners and tipping on their own edges. Are these phrases echoes of the vanished choir, or are they references to scripture?

Language is sacred, a symbol and practice of higher consciousness—“In the beginning was the Word, and the Word was with God, and the Word was God,” as the Gos- pel of John says. In Barry’s installation, though, language is fallible. Surrounding the cross are the words “MOST,” “ABSURD,” and “ANYTHING.” The chosen words dissolve into emblems that timidly ask large questions, one of which, between “REMEMBER,” “PURPOSE,” and. “OBVIOUS,” could be “Do you remember when some purpose was obvious?” Yet answers are not crucial to the experience. Instead, the texts become something visitors embody and enact as they search for clarity through changes in light, shifts in vantage point, and concentrated attention. For instance, “PASSION APPEARS” is displayed between the two most generous sources of light at midday. Throughout, Barry urges the viewer to remember the illusion and mysterious nature of meaning— the latter word appearing upside down in the rafters.

— Meg Whiteford GALERIA JAQUELINE MARTINS ROBERT BARRY

2013

Materializing Six Years Brooklyn Museum, New York September 14, 2012–February 17, 2013

While Conceptualism as an impulse, and Lippard as a writer, would both soon be firmly associated with political and social issues, and with feminism in particular, politics play little part in the work shown. The book’s dominant figures, including Sol LeWitt, Robert Barry, Douglas Huebler and Seth Siegelaub, were all concerned in one way or another with dismantling the luxury art object and defying the system that marketed it; even Hans Haacke’s work at this time was not addressed to the larger world

In the book, Lippard tried to explain her choices: “Art in this case [is] being used as a broad term meaning any sort of not necessarily visual framework imposed on or around real or imagined experience.” Such attempts to redefine art’s parameters put her—as did much of her radical curatorial activity at the time—in the same role as the artists for whom she was advocating. And if Conceptualism was among other things an attempt to preempt criticism, Lippard thought it was about time. In the book’s pre- face, she wrote that most observers had missed the boat on the new work, but then added, “Generally, though, the artists are so much more intelligent than the writers . . . that the absence of critical comment hasn’t been mourned.” Inert Gas Series:Argon, 1969 The tangled relationships among writers, artists and curators in Conceptualism’s early years continue to bedevil anyone trying to sort out the period’s legacy. This exhibition’s catalogue, with essays by its curators Catherine Morris and Vincent Bonin, and This exhibition’s long title, like much of its content, is a little cryptic. “Six Years” is shor- by Julia Bryan- Wilson, will serve as an essential tool. Lippard had begun to question thand for a landmark book that critic and curator Lucy Lippard assembled to track the de- the publication’s contents by the time she wrote its postface; she did so again in a velopment of idea-based art between 1966 and 1972. Even knowing that, you’re likely to feel 1997 reprint, and yet again in the introduction to the new catalogue. But the spirit of slightly lost-often happily so-amid the show’s welter of typescripts, broadsides, index cards Six Years still animates Lippard’s writing. “The book came out of a lived experience, and snapshots. The originating volume notionally took the form of a bibliography but was which is where I like to work from,” she told me in a recent conversation at her New actually an annotated sourcebook, with lists of exhibitions and of individual artworks that Mexico home. Forty years after the publication appeared, Conceptualism has bled into were, in many cases, based on text, and sometimes existed only as documentation. Suita- the art world so broadly that it is nearly impossible to trace its outlines. But the many bly, the show that materializes the book—and occasionally extends it—has a dead-serious challenges lodged within this book’s covers continue to provoke. loopiness that perfectly captures the era it recalls. — Nancy Princenthal GALERIA JAQUELINE MARTINS ROBERT BARRY

2012

Ends of the Earth: Land Art to 1974 Museum of Contemporary Art in Los Angeles May 27, 2012 – September 3, 2012

board, three out of four of whom publicly voiced their concern for the flashy, celebrity-driven turn in the museum’s recent programming. As such, ‘Ends of the Earth’ unintentionally acquired a dirge-like quality, as if it had been made manifest for the sole purpose of reminding us of the kind of rigorous, scholarship-driven shows that the museum was in the process of losing.

The largely art-historical issue of the movement’s international bona fides aside, con- sideration of Land Art’s status as a media practice, which is, of course, enmeshed with the mounting of an exhibition that consisted almost entirely of documentation, allows an avenue for thinking through issues of the present, and returns us to the question of timing. In their introductory essay, Kwon and Kaiser note that the vast majority of Land Art works were ‘produced’ not simply on-site, but within the public consciousness, through the dissemination of documentary photographs in popular media outlets like Life, Newsweek and Time, a fact that leads them to wonder if the media was a fundamental aspect of Land Art’s very existence. Of course, the same could be said of the works and projects of Deitch celebrity darlings like Shepard Fairey and James Franco. Carrier Wave, 1969 However, the distance between these two poles is vast: while artists and impresarios like Fairey and Franco operate in a feedback-looped media echo chamber whose sole purpose is to further enchant and sustain its own dream world, on the whole the ar- Sometimes, an exhibition’s timing can make as much of an impact as the exhibition itself. tists in ‘Ends of the Earth’ sought to enchant and examine the world itself, not only A case in point was the excellent, compen di ous ‘Ends of the Earth: Land Art to 1974’, which in a way that addressed its still urgently relevant political and ecological valences, couldn’t have come at a more in op por tune moment for its host institution, the Museum of which are often privileged in the show’s catalogue, but also the unfathomable eons of Contemporary Art in Los Angeles. Organized by UCLA-based art historian Miwon Kwon and prehistoric and geologic time recorded in and on it, and the awe-inspiring mystery of curator Philipp Kaiser in conjunction with the Haus der Kunst in Munich, the exhibition was the cosmos that surrounds us. In light of this, perhaps this exhibition’s most important on view during the height of the recent upheavals surrounding the controversial director- contribution to our present moment is not its academic, art-historical one – which ship of Jeffrey Deitch, which included the widely publicized firing of the museum’s chief causes hand-wringing and garment-rending on the part of cultural bureaucrats with curator, Paul Schimmel, and an avalanche of resignations from the artists sitting on MOCA’s their eyes locked on the attendance ticker – but its forceful reminder of just how blin- kered and petty our concerns have become.

— Chris Wiley GALERIA JAQUELINE MARTINS ROBERT BARRY

2012

Robert Barry KUNSTHALLE NÜRNBERG Lorenzer Straße 32 September 18–November 16

In 1969 Barry announced the gallery closed for the duration of his exhibition. Three galleries in Amsterdam, Turin and Los Angeles took part: anyone who didn’t believe what was stated on the invitation cards found the entrance locked. Looking at the poker-faced statements, you are left wondering whether there is significance in the slight variations. In one case it is stated that the gallery is closed ‘for’ the exhibition, as if providing a service; in another, that it is closed ‘during’ the exhibition, as if there might be a show going on somewhere else, in the ether, or behind the locked doors.

Invitation Piece (1972-3) was like a ring-a-ring-o’-roses that finally evaporated art into the means of its mediation, as though anticipating the ‘forward’ function of email: the invitation sent out by Paul Maenz Gallery, Cologne, invited you to an exhibition by Robert Barry at Art & Public in Amsterdam, who in turn referred you to London, from where you were invited to New York and so on, until finally Turin sent you back to Cologne. Nothing happened or was shown apart from this set of invitations. In Nu- remberg the eight cards were hung in a circle: the circulation of art turns into an ide Ultrasonic Wave Piece, 1968 motion that turns your head. Then you look towards the ceiling, and it’s as if hanging above you is a booby trap for all-too complacent platitudes about context and space: an almost indiscernible nylon filament spans the length of the ceiling and then runs In 1963, just after graduation, Barry painted a grid on paper by leaving blank white rec- down the wall towards the floor for exactly a quarter of the length of the ceiling (4 to tangles where the orange/red tempera didn’t colour the ground - as if the abstractions 1, Nylon Monofilament Piece, 1968). of Barnett Newman and Ad Reinhardt had been boiled down to the scale of an arithmetic book. But Barry seems stern only to those who don’t like to read. At the end of the decade Barry assumes we are thinking beings who do not simply abandon ourselves to art’s he made us disciples of a strange sect when he distributed eight short sentences over four authority like well-behaved pupils. He recently remarked that he doesn’t like art that otherwise empty pages: ‘ ... it has order ... it is always changing ... it is affected by other comes with footnotes - a thinly veiled swipe at Kosuth, who once stood in the middle things ... it affects other things ... it is not confined ... it is not in any specific place ... it can of that famous publicity shot. be presented, but go unnoticed ... to know of it is to be part of it ...’ (It Has Order, 1969-70). Who or what is the ‘it’ he is talking about? The weather? The Holy Ghost? Sure, he is talking about art, but he could just as easily be talking about inert gases, too. — Jörg Heiser GALERIA JAQUELINE MARTINS ROBERT BARRY

2012

Robert Barry KUNSTHALLE NÜRNBERG Lorenzer Straße 32 September 18–November 16

Among those who pioneered the artwork’s dematerialization, few were as committed in their efforts as Robert Barry. After abandoning painting in 1967, he moved from sitespecific installations composed of wire and nylon thread to art that exceeded the realm of the visible entirely: projects employing electromagnetic waves, radiation, and various types of inert gas. Barry’s concession to vision took the austere form of words—written on sheets of paper, imprinted directly on gallery walls, or projected as slides. Barry’s seminal role in Conceptual art’s formation should become better acknowledged with the unveiling of this exhibition, curated by Nürnberg director Ellen Seifermann, of his rarely seen (in some cases, literally unseeable) work from 1963–75.

— Margaret Sundell GALERIA JAQUELINE MARTINS ROBERT BARRY

2009

Robert Barry YVON LAMBERT 550 West 21st Street, New York January 8–February 7

Presenting language in highly corporeal form, Barry cast one-inch-tall sans-serif letters in acrylic to form Red Cross, 2008. He spells out a dozen words with the fire-en- gine-red letters and sets them flat on the main gallery floor in the shape of a plus sign (four pairs bordering a central square quartet). Some groupings seem intentional: ABSENT and ENCOUNTER make sense together, but CHANGING and INTIMATE are less clear. The logic of any combination, however, seems less important than Barry’s voca- bulary choices.

Playing loose with Saussurean linguistics, the artist selects signifiers without concrete signifieds, which explains why he prefers verbs, adjectives, and adverbs to nouns. RE- COGNIZE, BEYOND, IMPLY, ALMOST, WONDER—these are five of eight terms in Word List, 2008, painted in a column directly on the wall in pale primary and secondary colors, which “describe” those things that are essentially indescribable: mental pro- cesses, states, and concepts outside language that can often be experienced visually but rarely verbally.

The new works are buttressed by several older pieces, from a 1962 untitled checker- board canvas to Inert Gas Series: Neon, 1969. Most engaging are five short phrases A first-generation Conceptualist, Robert Barry abandoned his painting practice in the from 1969 (and codated to 2009) blown up in colorful vinyl letters on the wall, remi- 1960s and began experimenting with radio waves, noble gases, and nylon string—teetering niscent of Lawrence Weiner’s mural-scale texts. Originally appearing only in catalo- on the edge of a radically imperceptible art. Since the ’70s, his work has explored, among gues and as performances, A Secret Desire Transmitted Telepathically and four other other subjects, the visual, verbal, and conceptual qualities of language, and he’s also found similarly phrased statements share Weiner’s interest in relinquishing control of art ways to merge the immaterial and the physical. This exhibition of new wall texts, to viewers, but Barry surpasses his colleague by not specifying the form, content, or sculptures, and paintings—supported by several seminal pieces and by re-creations of older subject matter of the work, instead encouraging pure, ineffable thought found only in works never before exhibited—continues these investigations. the mind of the viewer.

— Christopher Howardc. GALERIA JAQUELINE MARTINS ROBERT BARRY

Robert Barry CV New York, 1936. Vive e trabalha / lives and works in New York.

Exposições individuais selecionadas / Selected solo shows

2019 1999 ROBERT BARRY, Francesca Minini, Milan. ROBERT BARRY – IT CAN BE…, Neues Museum Weimar, Weimar.

2018 1997 ROBERT BARRY, How Things Have Changed…, Parra & Romero Gallery, Madrid. Indianapolis Museum of Art, Indianapolis, Indiana (USA) ROBERT BARRY, Galleria Alfonso Artiaco, Naples. Galerie Meert Rihoux, Brussels (BE).

2016 1990 ROBERT BARRY: WORKS FROM 1964 TO 2016, Mary Boone Gallery, New York. WORDS, SPACE, SOUND, TIME, Haags Gemeentemuseum, Den Haag (NL).

2015 1989 ROBERT BARRY - WORKS 1962 UNTIL PRESENT, Galerie Greta Meert, Belgium. Leo Castelli Gallery, New York (USA). Centre National d’Art Contemporain, Grenoble (FR) 2014 Musée St. Pierre, Art Contemporain, Lyon (FR) ROBERT BARRY: DIPTYCH, WINDOW-WALLPIECE, Montclair Art Museum, New Jer- sey. 1987 ROBERT BARRY & LAWRENCE WEINER, Galeria Christian Stein, Turin (I). 2012 DIFFERENT TIMES, DIFFERENT WORKS, Galerie Yvon Lambert, Paris. 1982 ROBERT BARRY: GRAFIK UND INSTALLATIONEN, Ulmer Museum (DE) 2008 Museum Folkwang Essen (DE) WORKS ON PAPER FROM THE ‘70’S, Galerie Bugdahn und Kaimer, Düsseldorf. Museum of Conceptual Art, San Francisco, California (USA).

2005 1979 DIPTYCH, WINDOW/WALLPIECE, Montclair Art Museum, New Jersey. Galerie Paul Maenz, Cologne (DE) ROBERT BARRY AND SOL LEWITT, Yvon Lambert, Paris ROBERT BARRY: NEW DRAWINGS, Galerie Francoise Lambert, Milan (I) Galerie Rolf Preisig, Basel (CH) 2003 AGAIN & AGAIN, Leo Castelli Gallery, New York (USA). ROBERT BARRY, WORKS 1963 TO 1975, Kunsthalle, Nuremberg 1976 2001 PORTRAIT, PART I, Julian Pretto Gallery, New York (USA) EARLY WORKS, 1966 – 1973, McKinsey and Company, Düsseldorf PORTRAIT, PART II, P.S.1, Long Island City, New York GALERIA JAQUELINE MARTINS ROBERT BARRY

1974 Yvon Lambert, Paris (FR) Kustmuseum Luzern (CH).

1972 INVITATION PIECE, Jack Wendler Gallery, London (UK). Tate Gallery, London (UK).

1971 Art & Project, Amsterdam (NL) Yvon Lambert Paris (FR) Galerie Paul Maenz, Cologne (DE) Leo Castelli Gallery, New York (USA) Eugenia Butler Gallery, Los Angeles (USA).

1970 CLOSED GALLERY PIECE, Eugenia Butler Gallery, Los Angeles (USA) MARCUSE PIECE, Galleria Sperone, Turin (I)

1969 Coleções institucionais / Institutional collections INERT GAS EXHIBITION, Seth Siegelaub, Los Angeles (USA) CLOSED GALLERY PIECE, bulletin 17, Art & Project, Amsterdam (NL) CLOSED GALLERY PIECE, Galleria Sperone, Turin (I) Museu Guggenheim (Nova York)

1964 MoMA (Nova York) Westerly Gallery, New York (USA) Stedelijk Museum (Amsterdam)

Kunstmuseum Basel (Suiça)

Centre Georges Pompidou (Paris)

Sammlung Ludwig Collection (Colônia, Alemanha)

Museum Of Contemporary Art (Los Angeles) GALERIA JAQUELINE MARTINS ROBERT BARRY

Exposições coletivas selecionadas / Selected group shows

2018 2001 50 Years: An Anniversary, Paula Cooper Gallery, New York (USA) EARLY WORKS, 1966 – 1973, McKinsey and Company, Düsseldorf Collection Albers-Honegger Mouvements, Espace de l’art concret, Mouans-Sartoux, (FR) A L’HEURE DU DESSIN, 6E TEMPS – TRACE, Château de Servières, (FR) 1998 FORTY YEARS OF EXPLORATION AND INNOVATION, Leo Castelli Gallery, NY 2017 FLOATING WORLDS, 14th Biennale de Lyon, curated by Emma Lavigne, Lyon (FR). 1996 LIVING WITH GODS. PEOPLES, PLACES AND WORLDS BEYOND, British Museum, London (UK). ENFILIGRANE, Bibliotheque Nationale de France, Paris TODA PERCEPCION ES UNA INTERPRETACION, Cisneros Fontanals Art Foundation, Miami (USA) LIVING WITH GODS. PEOPLES, PLACES AND WORLDS BEYOND, British Mu- seum, London (UK). 2014 TODA PERCEPCION ES UNA INTERPRETACION, Cisneros Fontanals Art Fou- THERE WILL NEVER BE SILENCE, MOMA, New York (USA). ndation, Miami (USA)

2013 1995 IT IS, Fondation Pinault, Punta della dogana, Venice (I). RECONSIDERING THE OBJECTS OF ART, The Museum of Contemporary Art, WHEN ATTITUDES BECOME FORM, Fondation Prada, Venice (I) LA (USA). A STONE LEFT UNTURNED, Yvon Lambert, Paris (FR) DIE SAMMLUNG MARZONA, Palais Lichtenstein, Vienna (AT) SOL LEWITT. WALL DRAWINGS FROM 1968 TO 2007, Centre Pompidou Metz, Metz (FR) 1993 2012 PICTURES OF THE REAL WORLD (IN REAL TIME), Paula Cooper Gallery, NY ENDS OF THE EARTH : LAND ART TO 1974, MOCA, Los Angeles (USA). OUT OF SIGHT, OUT OF MIND, Lisson Gallery, London (UK) CONCEPTUAL ART AND THE PHOTOGRAPH, 1964 – 1977, The Art Institute of Chicago (USA) MATERIALIZING SIX YEARS – LUCY LIPPARD AND THE EMERGENCE OF CONCEPTUAL ART, 1989 Brooklyn Museum, New York (USA) LANGUAGE IN ART, Aldrich Museum of Contemporary Art, Ridgefield (USA) 2011 WORD AS IMAGE, 1960 – 1990, Milwaukee Art Museum, Milwaukee (USA) LE PAPIER À L’OEUVRE, The Louvre, Paris (FR). MAKING HISTORIES:, Stichting Stedelijk Museum, Amsterdam (NL) 1987 MARCEL DUCHAMP UND DIE AVANT-GARDE SEIT 1950, Museum Ludwig, 2010 Cologne (DE) THE ORIGINAL COPY, MoMA, New York (USA). MODES OF ADDRESS: LANGUAGE IN ART SINCE 1960, Whitney Museum of ROMANTIC CONCEPTUALISM, Kunsthalle Nuernberg (DE). American Art, NY, (USA) 20TH ANNIVERSARY GROUP EXHIBITION, Paula Cooper Gallery, New York 2007 (USA) SOME TIME WAITING, Kadist Art Foundation, Paris (FR) SAMMLUNG, Generali Foundation, Vienna (AT) 1982 MODERNE LILLE MÉTROPOLE, Musée des Arts Contemporains, Hornu (BE) MASTER WORKS OF CONCEPTUAL ART, Paul Maenz, Cologne (DE) CONCEPTION II, A Pierre et Marie, Paris (FR) DOCUMENTA VII, Kassel (DE) GALERIA JAQUELINE MARTINS ROBERT BARRY

1976 Instalações públicas / Public installations WORDS, Whitney Museum of American Art, New York (USA) WORDS AT LIBERTY, Museum of Contemporary Art, Chicago (USA) WORKS FROM THE COLLECTION OF HERBERT AND DOROTHY VOGEL, University of 2005 Michigan Museum of Art, Ann Arbor (USA) Acerra Metro Train Station, Naples (I) REFLETS ET RÉFLEXIONS, Musée d’Orsay, Paris (FR) 1974 BSI Bank, Lugano (CH) ART NOW, The John F. Kennedy Center for the Performing Arts, Washington, D.C. (USA) CONCEPT ART, Kunstverein, Braunschweig (DE) 2004 KUNST BLEIBT KUNST, Kunsthalle, Cologne, Project ’74 (DE) Princeton Public Library, Princeton (USA) AXA Bank, Brussels (BE) 1972 DOCUMENTA 5, Kassel (DE) 2001 Biennale di Venezia, Venice (I) McKinsey and Company, Düsseldorf (DE) KUNST ALS BOEK, Stedelijk Museum, Amsterdam (NL) Lenbachhaus, Munich (DE) Yvon Lambert Collection, Hôtel de Laumont, Avignon (FR) 1971 ARTIST, THEORY & WORK, Kunsthalle Nurnberg (DE) 1999 PROSPECT 71, Düsseldorf (DE) Versicherungskammer Bayern, Munich (DE) Biennale de Paris, Paris (FR) Innogenetics Biotechnology Research Corporation, Ghent (BE)

1970 1998 18 PARIS IV, ’70, Paris (FR) L.H.I. Leasing, Munich (DE) INFORMATION, Museum of Modern Art, New York (USA) Café of the New Museum of Contemporary Art, Weimar (DE) GROUPS, Studio International, London (UK) SOFTWARE, curated by Jack Burnham, The Jewish Museum, New York (USA) 1997 D.Z. Bank, Frankfurt (DE) 1969 557,087, Seattle Art Museum Pavillion, Seattle and Vancouver Museum of Art (USA) 1996 995,000, British Columbia (UK) Theatre les Abessess de la Ville de Paris, Paris (FR) PROSPECT 69, Kunsthalle Düsseldorf (DE) Hotel Windsor, Nice (FR) JANUARY 5-31, 1969, Seth Siegelaub, New York (USA) Finstral GmbH, Gochsheim (DE) MARCH 1969, Seth Siegelaub, New York (USA) WHEN ATTITUDES BECOME FORM…, Kunsthalle Bern (SW) 1992 Kapel de Liefde, Amsterdam (NL) 1968 Paula Cooper Gallery, New York (USA) 1990 XEROX BOOK, Siegelaub-Wendler, New York (USA) Rentschler Pharmaceutical, Laupheim (DE) Sprengel Museum, Hannover (DE) GALERIA JAQUELINE MARTINS ROBERT BARRY

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