The Infinite Line. Re‑making Art After Modernism

This landmark book offers a radical reinterpretation of the innovative art of the late 1950s and 1960s. Examining the work of major artists of the period‑including Mark Rothko, Piero Manzoni, Agnes Martin, Dan Flavin, Eva Hesse, Blinky Palermo, and Louise Bourgeois‑Briony Fer focuses on the overriding tendency toward repetition and seriality that occurred at the moment of modernism’s decline, gained ground in its aftermath, and continues to shape much of the art seen today. Although seriality is mainly associated with American artists and with Minimalism, Fer broadens our understanding of it, looking at Minimalist seriality as one crucially important strategy among several. She argues that repetition becomes generative of new modes and habits of making and looking; at stake is how we think about the artwork in relation to both temporality and subjectivity. Paying close attention to specific artworks, this timely critical reassessment offers a fresh perspective on a wide range of familiar and less familiar art.