Today her Innocent Love occupies an entire gallery at Dia: Beacon. The paintings play variations on shimmering bands of color. Her Contentment consists of six vertical bands of pale yellow; Perfect Happiness is a series of vertical washes that translate as little more than a glow on the retina. The paintings reflect the shifting quality of desert light, making the gallery seem as spacious as New Mexico’s vistas.
Serra’s Torqued Ellipses have quite the opposite effect. They overpower the factory’s long train shed, into which they are wedged. Serra chose the space himself. “You hardly ever get to do that in a museum,” he says. “I don’t think there’s another museum in the world like this. If you can’t find someone to look at between Warhol, Judd, Flavin, Martin and Ryman, it’s not the art’s fault.”