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Intersecting Interests

In 1971, the Los Angeles-based artist Robert Irwin embarked on a solitary driving tour of the country’s perimeter. A year earlier, he had completed an installation at the Museum of Modern Art that — while unnoted by the art world — had led to an important personal breakthrough, leading him to leave his studio for good and embark on a new phase of a career in which he has routinely questioned and shed the inessential. The MOMA installation transformed a small, squat room through three site-specific interventions indicated by the title of the work: ”Fractured Light” — “Partial Scrim Ceiling”…