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"It only takes one great artist to keep a tradition alive." So runs the first sentence of William Rubin's monograph, and one is left in no doubt which prince is coming. But now that the English dauphin has been so well anointed with the oil of consecration, one may step back and reflect that after all, his work does not have the immense flawed vitality of David Smith's; that it is an intelligent, distinguished but sometimes only dec orative addition to the short history of constructed sculpture.