by Rosalind E. Krauss
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"Spare me smart Jewish girls with their typewriters," quipped Clement Greenberg, the legendary critic of modernism, to Rosalind Krauss, his most brilliant disciple. It was 1974: Krauss had made a name for herself writing on Minimalism in the pages of Artforum but would soon leave the magazine to cofound October. As promised by the journal's name, a revolution in art history was afoot.
All of which is as familiar to students of contemporary art as the legacy of Richard Serra—one of many artists whose reputations are bound to Krauss's pioneering analyses. Her key essays remain mainstays of academia, and for good reason. With a tenacity unmatched by other critics of her time, Krauss insisted on the possibility, the necessity, of shoring up valid art-historical methodologies at a moment when "art" and "history" appeared
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