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Artforum International

Guy Brett mailing Signals Newsbulletin in London, 1964. Photo: © Clay Perry/England & Co. AT A 2008 TATE MUSEUM TALK on Chilean artist Eugenio Dittborn, Guy Brett recalled a studio visit during which Dittborn kept fussing with unwieldy canvases, growing frustrated. “Fucking rigidity,” Dittborn had exclaimed, bashing the canvases to the wall. This aversion to the static, a trait endemic to the artists he championed, is just as applicable to Brett himself. The critic and curator had an abhorrence for the rigid, contempt for anything that refused to bend to the shape of the world. He was attracted to vitality, to art that marked, as he put it, “a new relationship with life.”

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