| Process sculpture and film in Richard Serra's work
|
2000 |
Buchloh, Benjamin H. D. |
| The museum and the monument : Daniel Buren's Les couleurs/Les formes
|
2000 |
Buchloh, Benjamin H. D. |
| Readymade, photography, and painting in the painting of Gerhard Richter
|
2000 |
Buchloh, Benjamin H. D. |
| Robert Watts : animate objects, inanimate subjects
|
2000 |
Buchloh, Benjamin H. D. |
| Knight's moves : situating the art/object
|
2000 |
Buchloh, Benjamin H. D. |
| Beuys : the twilight of the idol, preliminary notes for a critique
|
2000 |
Buchloh, Benjamin H. D. |
| Marcel Broodthaers : open letters, industrial poems
|
2000 |
Buchloh, Benjamin H. D. |
| Memory lessons and history tableaux : James Coleman's archaeology of spectacle
|
2000 |
Buchloh, Benjamin H. D. |
| Structure, sign, and reference in the work of David Lamelas
|
2000 |
Buchloh, Benjamin H. D. |
| Parody and appropriation in Francis Picabia, Pop, and Sigmar Polke
|
2000 |
Buchloh, Benjamin H. D. |
| Spero's other traditions
|
2000 |
Buchloh, Benjamin H. D. |
| Moments of history in the work of Dan Graham
|
2000 |
Buchloh, Benjamin H. D. |
| Hans Haacke : memory and instrumental reason
|
2000 |
Buchloh, Benjamin H. D. |
| Villeglé : from fragment to detail
|
2000 |
Buchloh, Benjamin H. D. |
| Michael Asher and the conclusion of modernist sculpture
|
2000 |
Buchloh, Benjamin H. D. |
| The posters of Lawrence Weiner
|
2000 |
Buchloh, Benjamin H. D. |
| Andy Warhol's one-dimensional art, 1956 - 1966
|
2000 |
Buchloh, Benjamin H. D. |
| Plenty or nothing : from Yves Klein's Le vide to Arman's Le plein
|
2000 |
Buchloh, Benjamin H. D. |
| Hantaï/Villeglé and the dialectics of painting's dispersal
|
2000 |
Buchloh, Benjamin H. D. |
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