Art: Invasion of the Plaster People

At New York's Whitney Museum, a Segal introspective

Silent, muffled in form, tinged with the pathos of the discarded chrysalis, George Segal's plaster figures have kept their place on the edge of modernism for the better part of 20 years. They have also shown how art changes one's reading of other art. In the early 1960s, when Segal —the son of a New Jersey chicken farmer —first emerged as a sculptor, he was identified with Pop art. This happened because some of his tableaux had an aggressive, urban character and used real props: stacks...

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