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Beacon museum-that would often be likened by the press to pilgrimage sites or sanctuaries and would otherwise lead to an institutional framing of Minimalism putatively at odds with the movement's premises in their inception, for dominant critical accounts would have it that Minimalism is properly understood as an ineluctably secular, materialist undertaking.1 Count Panza began collecting art by Dan Flavin and Robert Morris in 1967, followed by the work of Donald Judd, Carl Andre, James Turrell, Robert Irwin, and others, monopolizing the market for Minimalism over the course of a decade when prices were low and competition from fellow collectors scant.2 What he discerned in Minimalist initiatives generally was the research of truth through simple forms, a quest for the essential that endued the work with auratic qualities.3 Over time, with his taste for the metaphysical, [Panza] rewrote the Minimalist project to suit his own sensibilities, Rosalind Krauss charged in 1991.4 As for the founders of Dia, who largely succeeded Panza as the Minimalists' chief patrons, Village Voice critic Kim Levin inquired whether they were propagating their own idealistic and somewhat mystical aesthetic when they opened an exhibition space devoted to a limited number of outsize, long-term projects in an industrial building in New York's Chelsea neighborhood in 1987.5 Dia's establishment of stand-alone art projects in accordance with individual artists' designs was framed skeptically by Krauss in October in 1990, further, as the reconsecrating [of] certain urban spaces to a detached contemplation of their own 'empty' presence, spaces that emanate an inscrutable but suggestive sense of impersonal, corporate-like power to penetrate artworld locales and to rededicate them to another kind of nexus of control.
Revaluing Minimalism: P
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