ABSTRACT
The creations Mr. George Segal exhibits for our edification—and possibly even our delight—are, certainly, works of art. Moreover, they address themselves to the kind of artistic problems—problems of illusion and reality, of the relation of "meaning" to the materials out of which art is constructed—which are very much in the foreground of the current scene, not only in the visual arts but in films, the theater, and the novel. Mr. Segal has quite mastered the stylistic formula—the reduction of style to a formula—which the Pop aesthetic entails. Indeed, his own version of the formula is now sufficiently established—and his own position as an artist sufficiently historical—for him to come forward with a kind of monument to himself. Mr. Segal takes hold of tradition with a certain rude force, removing whatever traces of subtlety may have accrued to it and placing it firmly in the arena of Pop sensibility.
