[iii]. Clement Greenberg, “After Abstract Expressionism” (1962), Collected Essays vol. 4, ed. John O’Brian (Chicago: University of Chicago, 1993), 131 – 132. My citation of Greenberg is meant to show exactly how far removed we are from his discourse of Modernist painting, which most painters working today consider as historical fact rather than as present dogma, if they consider it at all. The continued assumption that all appearances of abstract painting fit into his schema is simplistic yet common. It relies on a baffling, yet regularly repeated misreading of Greenberg as a materialist interested in the physical terms of painting—the stretcher, canvas, paint, etc. When he was only interested in such things insofar as they motivated his notion of painting’s orientation towards its inherent two-dimensionality, or flatness, which for him opened painterly work onto optical effects, which precisely dematerialize the work. His inability to accept the work of Frank Stella is just the first indication of how anathema he was to many of the traditions of abstract painting. For just one of the most recent such misreading, see Lilly Lampe’s “ ‘Painter-painter,’ and the Lingering Specter of Greenberg,” Brooklyn Rail (February 2016). For a careful scholarly analysis of the ramifications of Greenberg’s discourse on painting vis-à-vis Minimalism and Conceptual Art, see Thierry de Duve, “The Monochrome and the Blank Canvas,” in Serge Guilbaut, ed. Reconstructing Modernism: Art in New York, Paris, and Montreal, 1945-1964 (Cambridge, MA: The MIT Press, 1990), 244-310.