The New Yorker, p. 14
24 March 2008
People could quibble over whether Naumans sketches for installations are art works or just preparation. But this has long been the case with the medium of drawing, which became popular only when modern audiences began to care as much about process as they did about finished products. Sketches on yellowed paper dominate the show, but Cones Cojones (1973-75) takes things a step further, with two collages and concentric circles of tape on the floor, surrogates for imaginary cones that originate at the earths core and project into infinite space. Throughout the show, one sees the careful thinkingverging on poetrythat precedes all of Naumans installations, regardless of scale or materials.