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In the early 1990s, Donald Judd introduced Russian-born Ilya and Emilia Kabakov to the charms and dangers of the West Texas borderland.

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Curator, foundation director and Parkett magazine editor Bice Curiger recalls her experience with Swiss artists Fischli/Weiss in the 1970s and â??80s, the era of their â??Sausage Series,â? â??Rat and Bearâ? films and infamous anus-view sculpture Animal,

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Summer revelry, ca. 1968.

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An intimate recollection of a visit to the Watts Towers in 1965.

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Peter Alexander and Billy Al Bengston cozy up in Minneapolis, 1971.

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Collaborating in the late â??60s with composer Steve Reich.

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Lynda Benglis recalls the collaborative conception and seat-of-the-pants production of her 1976 video The Amazing Bow Wow, about a husband who grows jealous of a talking dog.

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The American painter recalls her five years as a Réalités Nouvelles artist in mythic postwar Paris.

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Jan Dibbets recalls the genesis of his 1969 project Five Pedestals for a Museum as well as the unflagging support that curator and impresario Seth Siegelaub gave to emerging Conceptual artists.

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A one-room school in rural Onatario gave the young Janet Cardiff a sense of dreaminess and self-direction that has served the artist well for fifty years.

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For this seminal New York performance and conceptual artist, the show must go on, even during a 1977 blizzard.

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The artist grabs a smoke at the Kunsthalle Bern, 1969.

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The New Romantics hit Londonâ??s night spots, 1978.

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The influential dealer discusses an impromptu meeting with her friend Robert Smithson in the late 1960s.

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A former Vogue photographer recounts a convivial evening with the Motherwells.

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Looking back to 1989, artist Kehinde Wiley recalls the culture shock of departing South Central Los Angeles as a twelve-year-old to participate in a cultural exchange with students in Saint Petersburg, Russia.

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Painter Jack Youngerman recalls the joys and misadventures of raising a young son in the late 1950s among Coenties Slip neighbors such as Robert Indiana, Ellsworth Kelly, Lenore Tawney, and Agnes Martin.

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The film star’s unusual present for Beatrice Wood’s 100th birthday.

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Architect Richard Rogers recalls the shock, and the joyful challenge, he and Renzo Piano experienced when they won the coveted Centre Pompidou commission as newcomers in their thirties.

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One member of the artist duo OSGEMEOS recalls the immense impact that hip-hop culture had on him and his twin brother Gustavo during their teenage years in late 1980s São Paulo.

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A gallery director recalls the eccentric Correspondance School creator preparing for an exhibition.

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David White, senior curator at the Robert Rauschenberg Foundation, recalls helping the artist mount the first showing of his giant installation The ¼ Mile or 2 Furlong Piece in Fort Myers, Florida, in 1982.

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A former A.i.A. editor’s candid 1970s photo, capturing art historian Barbara Novak with onetime Kimbell Art Museum director Richard Brown, evokes films like L’avventura.

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During a photo shoot at Trisha Brown’s studio in 1980, Charles Gaines ended up being photographed in turn by the dancer, and the reciprocal portrait session soon changed Gaines’s approach to his work.

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The peripatetic British artist recalls participating in Cornell University’s famous 1969 “Earth Art” show and meeting his first New York dealer, John Gibson.

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Ant Farm cofounder Chip Lord recalls a 1977 sound project that brought California Governor Jerry Brown to Bodega Bay.

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The former Ferus Gallery owner remembers prankish surprises from Edward Kienholz in the ’60sâ??some of them art, some of them food.

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A 1981 triple-portrait photo by Jimmy DeSana stirs poet John Giorno to recall the challenges of making a double record album that year with William S. Burroughs and Laurie Anderson.

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The East Village veteran recalls performing irreverent impersonations of Andy Warhol and Edie Sedgwick with Joey Ariasâ??sometimes in the presence of Warhol himself.

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Jason Rubell, then a teenage schoolboy and beginning collector, recalls meeting legendary dealer Leo Castelli in the mid-1980s.

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In 1985, a host of Cuban artists and writersâ??all friends of Ana Mendieta and many of them visiting the U.S. at her instigationâ??gathered for a high-spirited communal evening in New York.

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Around 1980, Eric Fischl recalls, artist friends like David Salle and Barbara Kruger gathered regularly in a SoHo loft for evenings of amateur-music making.

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The sculptor recalls his collaborative projects with studio-mate Farrah Fawcett, as well as the night they hung out together with ZZ Top’s Billy Gibbons.

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In the early 1950s, a boy’s life at home in Paris meant time in the studio “collaborating” with his father, the Hungarian-born painter Simon Hantaï.

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The son of photographer Lee Miller and Picasso biographer Roland Penrose recalls the warmth and playfulness of his boyhood encounters with the modernist master.

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The figurative painter recalls a 1978 trip to an L.A. shoeshine stand with three fellow Otis Art Institute students, all determined to address black identity in their work.

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A 1976 photo shoot by Conceptual artist Dennis Oppenheim was an unforgettable experience for his 10-year-old daughter.

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A day on campus with Andy Warhol.

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A photo of neighborhood children with one of his Hydrocal sculptures prompts Aldo Tambellini to reminisce about the East Village of the early 1960s and the Umbra poets who were then his collaborators and friends.

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Senga Nengudi recalls a 1977 gallery show in Los Angeles where she first exhibited her “R.S.V.P.” sculpture series, whose sand-filled pantyhose evoke the elasticity of the human body.

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Art in Americaâ??s longest-serving former editor recalls the staff members and writers who fueled the magazineâ??s resurgence.

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Liza Lou reflects on the physical and emotional intimacy woven into the beaded works she has created over the past eleven years with women in South Africa.

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Liza Lou reflects on the physical and emotional intimacy woven into the beaded works she has created over the past eleven years with women in South Africa.

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Thomas Struth recalls his student days at the Kunstakademie Düsseldorf in the mid-1970s, when he decided to switch from painting to photography.

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For a few hours in 1951, an impoverished Irish boyâ??today the abstract painter Sean Scullyâ??experienced the joys of middle-class life, thanks to two London reporters.

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In 1995, Jason Rhoades built a mechanical steer and induced his German-born dealer to mount up.

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The artist’s 1974 cross-country trip with New York vanguard impresario Willoughby Sharp and friends was marked by celestial surprises.

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Choreographer Risa Jaroslow reminisces about an extraordinary outdoor performance in Lower Manhattan in 1980.

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A candid snapshot recalls the creative ferment of San Francisco’s Crown Point Press print studio in the 1980s.

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Making portraits in order to survive in midcentury Paris led the young Christo to Brigitte Bardot and to his future wife, Jeanne-Claude.

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In 1990, artist Marilyn Minter decided to promote her gallery solo “100 Food Porn” through late-night TV commercials.

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Touched by the esteem of her peers, even in a comic context, the ever-provocative Rosler turned a 2010 art award into art by placing it in her “garage sale” at MoMA.

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An unpublished picture shot for a 1975 Avalanche magazine article caught the sculptor in a pensive moment, one psychologically attuned to the grit and dodginess of downtown New York.

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In 1994, Chin turned a Glock 9mm into a therapeutic artwork.

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In 1996, New York University chums Stuart Hawkins and Chris Verene spent a magical week house-sitting the starlet’s West Village loftâ??and turning it into a think tank for fellow aspiring artists.

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Grooms’s 1976 installation Ruckus Manhattan, sprawling through an old New York textile mill, attracted city officials, Mayor Koch and curator Henry Geldzahler.

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The brother of pioneering Brazilian artist Hélio Oiticica recalls a raucous 1965 museum opening in Rio.

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Artist and filmmaker John Waters recalls an evening of wit and revelry with Cy Twombly.