Primo Piano II . 1962
While Smith often grouped objects together with series titles, he worked on multiple series simultaneously and understood each sculpture as it ‘related to my past works, the three or four works in process and the work yet to come.’ He also cited the importance of painting in his practice, noting that not only is the history of sculpture painted, but for Smith each planar surface had its ‘own properties in form as well as in color, and then color adds another challenge.’ The seven painted sculptures in ‘No One Thing’ are exemplary of his refusal to adhere to one way of making or a single style.
HAUSER & WIRTH
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