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Byline: Dodie Kazanjian
After a ten-year hiatus, the artist Jennifer Bartlett
is in the midst of a comeback. It started when Rhapsody (1975-76), her 153-foot-long painting made up of enamel-on-steel plates, was installed in May in MoMA's daunting atrium. The space had defeated works by such big-boy artists as Monet, Rauschenberg, and Twombly.
But when Rhapsody went up, wrapping around the impossibly high walls, everyone agreed that it was a perfect fit. "When I saw the piece installed in the atrium," Bartlett tells me, ...