Sig Nordal, Jr.

Art history was born as a process of comparison: the stiffness of an early Greek kouros compared to the natural pose of a later figure; side-by-side images clicking into place from whirring lantern slide projectors; the hackneyed term “juxtaposition” that launched a thousand essays. At Pace Gallery’s “Agnes Martin, Richard Tuttle: Crossing Lines,” Tuttle, channeling Martin, introduces a different concept, which he calls “augmentation”—a relationship and exchange between two artists’ works that goes beyond simple comparison.

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