Scene styles succeed each other so fast that middle positions get left behind

Evidence

Pop dispatched Abstract Expressionism and Minimalism dispensed with Pop. The easygoing Park Placers were caught in the middle. Attracted to visual sleight of hand, peripheral vision, and spatial illusions, the Group even tolerated Op Art—a despised tendency reviled by formalist critics for its “trompe l’oeil tactility.” Perhaps inadvertently, McShine critiqued the showmanship of Robert Grosvenor’s colossal, spectacularly cantilevered, V-shaped structure by placing it in a gallery with some aggressively untitled, blandly upstaging box-like things by Judd and Morris. — J. Hoberman, Everything Is Now, 1019

Categorization

• XREF: connects to: Fast-paced media design structurally prevents sustained reflection, not merely by audience laziness. — Theodor W. Adorno, Max Horkheimer, Dialectic of Enlightenment, 99