At the Guggenheim
Hal Foster: David Smith, 9 March 2006
“... this isn’t false, despite the immediate catch that his greatest follower, Anthony Caro, is English. Yet it does play too neatly into the usual story of Modernist art: that it was smashed by Fascism and totalitarianism in prewar Europe, then triumphally restored in postwar America as the analogue of American Freedom. A good show disturbs settled ... ”