The yearly surveys of U.S. painting and sculpture staged by Manhattan's Whitney Museum have an enviable reputation for spotting new art trends. But the Whitney's singular problem is that it is committed to catholicity, determined to recognize the new and yet to support the established, blaze trails and still find room for tradition. The result is invariably a grab-bag display where the latest avant-garde creations nestle alongside traditional bronze nudes. For the 1968 annual, devoted to sculpture, the confusion has been compounded by a $155,000 Ford Foundation grant that enabled five...
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