ABSTRACT
T he lawyer Jerald Ordover began to represent visualartists in the early 1960s. Some were recommended to him by Ivan Karp, a childhood friend, then working for Leo Castelli. As happened to good lawyers in the days before they could advertise, some clients recommended others, including Edward Avedisian, John Chamberlain, Frank Stella, Barbara Rose, and, in 1965, Castelli himself. Meanwhile, when the proprietors of CAMI Hall uptown wanted to cancel the cellist Charlotte Moorman’s contract for her 1966 avant-garde festival, she called on Jerry, as he was commonly called, for help. He interceded and the concerts continued.
