FOR THE PAST FIFTY YEARS, artist Margaret Raspé has produced a sensitive, trenchant, and profoundly uncompromising body of work that has, until very recently, received only scant attention.
I DIDN'T KNOW Dan Graham well. I met him a handful of times in the mid-2000s when I was a graduate student at Princeton University. I wanted to write my dissertation on Dan, but I was too young and too terrified to do it. Once, when I met him in his loft on New York’s Spring Street, he threw a fit because I didn’t know the work of the Japanese architect Itsuko Hasegawa. I was wet behind the ears and couldn’t find my angle I was too sympathetic to his position, which was at once ardent, skeptical, and laced with wry humor. With Beatriz Colomina and Mark Wigley, we took an architectural tour of