Eddie Yeghiayan
"The /Cloud/." In Agnes Martin, pp. 155-165. New York: Whitney Museum of American Art/Abrams, 1992. Exhibition opened first at the Whitney Museum of American Art, New Y ork, November 6, 1992-January 31, 1993, Milwaukee Art Museum, Wisconsin, February 12- April 4, 1993, Center for the Fine Arts, Miami, Florida, May 22- August 1, 1993, Contemporary Arts Museum, Houston, Texas, September 10-October 31, 1993, and Museo Nacional Centro de Arte Reina Sofia, Madrid, November 16, 1993-January 24, 1994.
"Discussion." (With Christian Geelhaar, William Rubin, Marie-Laure Bernadac, Yve-Alain Bois, Christine Poggi, Edward Fry, Leo Steinberg, Pierre Daix, Mark Roskill, Benjamin Buchloh, Pepe Karmel, Albert Kostenevich, Jack Flam, John Nash, J
ohn Elderfield, Kirk Varnedoe and Lewis
Kalchur.) In Lynn Zelevansky, ed., Picasso and Braque: A Symposium, pp. 209-221. New York: Museum of Modern Art/Abrams, 1992.
Discussion following Yve-Alain Bois' paper "The Semiology
of Cubism," pp. 169-208.
"Discussion." (With Christine Poggi, David Cottington, Mark Roskill, Pierre Daix, Theodore Reff, Patricia Leighten, Leo Steinberg, Robert Rosenblum, William Rubin, Edward Fry, Pepe Karmel, John Nash, Kirk Varnedoe, Lewis Kachur, Yve-Alain
Bois, Jack Flam, John Richardson, Benjamin
Buchloh, John Elderfield and Alvin Martin.) In Lynn Zelevansky, ed., Picasso and Braque: A Symposium, pp. 73-91. New York: Museum of Modern Art/Abrams, 1992.
Discussion following David C
ottington's paper "Cubism, Aestheticism,
Modernism," pp. 58-72.
"Discussion." (With Christine Poggi, Edward Fry, Jack Flam, Mark Roskill, William Rubin, Kirk Varnedoe, Theodore Reff, Pepe Karmel, Leo Steinberg, Robert Rosenblum, Pierre Daix, Yve-Alain Bois, Benjamin Buchloh, Alvin Martin, John Elderfi
eld, Isabelle MonodFontaine, Lewis Kachur,
David Cottington, Patricia Leighten and Angelica Rudenstine.) In Lynn Zelevansky, ed., Picasso and Braque: A Symposium, pp. 107-128. New York: Museum of Modern Art/Abrams, 1992.
Discussi
on following Edward F. Fry's paper "Converge
of Traditions: The Cubism of Picasso and Braque," pp. 92-106.
"Discussion." (With David Cottington, Theodore Reff, John Richardson, John Nash, John Elderfield, Pepe Karmel, Robert Rosenblum, Mark Roskill, Alvin Martin, Patricia Leighten, Leo Steinberg, William Rubin, Yve-Alain Bois, Edward Fry, Ange
lica Rudenstine, Christine Poggi, Kirk
Varnedoe, Isabelle Monod-Fontaine, Pierre Daix and Benjamin Buchloh.) In Lynn Zelevansky, ed., Picasso and Braque: A Symposium, pp. 44-57. New York: Museum of Modern Art/Abrams, 1992.
Di
scussion following Theodore Reff's paper "The
Reaction Against Fauvism: The Case of Braque," pp. 17-43.
"Discussion." (With John Richardson, Leo Steinberg, Patricia Leighten William Rubin, Pierre Daix, Lewis Kachur, Alvin Martin, Kirk Varnedoe, Robert Rosenblum, Christine Poggi, Pepe Karmel, John Nash, Mark Roskill, Benjamin Buchloh, Edward
Fry and Angelica Rudenstine.) In Lynn
Zelevansky, ed., Picasso and Braque: A Symposium, pp. 240-260. New York: Museum of Modern Art/Abrams, 1992.
Discussion following Mark Roskill's paper "Braque's Papiers Collé
s and the Feminine Side to Cubism,"
pp. 222-239.
"Discussion." (With Kirk Varnedoe, William Rubin, Christine Poggi, John Richardson, John Elderfield, Jack Flam, Benjamin Buchloh, Alvin Martin, Robert Rosenblum, Pierre Daix, David Cottington, Pepe Karmel, Mark Roskill, Isabelle Monod-Fon
taine, Marie-Laure Bernadac, Lewis Kachur and
Patricia Leighten.) In Lynn Zelevansky, ed., Picasso and Braque: A Symposium, pp. 150-168. New York: Museum of Modern Art/Abrams, 1992.
Discussion following Christine Poggi's paper "Braq
ue's Early Papiers
Collés: The Certainties of Faux Bois," pp. 129-149.
"Discussion." (With Patricia Leighten, Jack Flam, John Elderfield, John Nash, Christine Poggi, Yve-Alain Bois, David Cottington, Mark Roskill, Pierre Daix, Kirk Varnedoe, Robert Rosenblum, Alvin Martin, William Rubin, Leo Steinberg, Edwar
d Fry, John Richardson and Pepe Karmel.) In
Lynn Zelevansky, ed., Picasso and Braque: A Symposium, pp. 287-305. New York: Museum of Modern Art/Abrams, 1992.
Discussion following Rosalind Krauss' paper "The Motivation of the Sign,"
pp. 261-286.
"In Defense of Yve-Alain Bois." [Letter] Art in America (May 1992), 80(5): 31. On Michael Leja's review of Yve-Alain Bois' Painting as Model (March 1992), 80(3): 35-37.
Michael Leja replies on pp. 31-32.
"In the Name of Picasso." In Francis Frascina and Jonathan Harris, eds., Art in Modern Culture: An Anthology of Critical Texts, pp. 210-221. New York: Icon Editions, HarperCollins; London: Phaidon Press/Open University, 1992. See "In the Name of Picasso" (1981), (1985).
"The Motivation of the Sign." In Lynn Zelevansky, ed., Picasso and Braque: A Symposium, pp. 261-286. New York: Museum of Modern Art/Abrams, 1992.
Proceedings of a sympo
sium held at the Museum of Modern Art, New
York, November 10-15, 1989, in conjunction with the exhibition Picasso and Braque: Pioneering Cubism, shown September 24, 1989-January 16, 1990.
"The Originality of the Avant- Garde." In Charles Harrison and Paul Wood, eds., Art in Theory, 1900-1990: An Anthology of Changing Ideals, pp. 1060-1065. Oxford & Cambridge, Mass.: Blackwell, 1992. See "Originality of the Avant-Garde" (1972), and The Originality of the Avant-Garde and Other Modernist Myths (1985), pp. 151-170.
"A View of Modernism." In Charles Harrison and Paul Wood, eds., Art in Theory, 1900-1990: An Anthology of Changing Ideals, pp. 954-956. Oxford & Cambridge, Mass.: Blackwe ll, 1992. See "A View of Modernism" (1972).