Assuming that art and experience must be linked, that artistic as well as critical practices and positions, interests, and privileges are colored by personal factors that may reward examination, this essay asks what has been at stake, and for whom, in the exempting of the canonical Minimalist artists from biographical scrutiny. At issue are the consequences not only of the disuse but also of a partial or uneven use of biographical information relative to artists associated with the movement and to certain critics responsible for the imposing face, or facelessness, that Minimalism has come to assume in the public eye.
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