It may be coarse to call Ellsworth Kelly, whose excellent retrospective opens the new season at New York's Museum of Modern Art, a sleeper; but it has a degree of truth. Nearly 20 years have gone by since this quiet, theory-shy artist came back from Paris and began turning out his spare, immaculately drafted abstractions amid the fulgid polemics of the New York scene.
They did not "belong" in New York, with the splashy gesture and the stuffed angora goat; and except for the work of one or two painters like Kelly's friend Jack...
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