Terry Fugate-Wilcox
Three-Part Sculpture Show

April 22–May 27, 1972 112 Greene Street/Workshop
Installation view from first show of Terry Fugate-Wilcox's "Three-Part Sculpture Show," 1972

Terry Fugate-Wilcox, installation view, 1972

Installation view from first show of Terry Fugate-Wilcox's "Three-Part Sculpture Show," 1972

Terry Fugate-Wilcox, installation view, 1972

Installation view from the first show of Terru Fugate-Wilcox's "Three-Part Sculpture Show," 1972

Terry Fugate-Wilcox, installation view, 1972

Installation view from second show of Terry Fugate-Wilcox's "Three-Part Sculpture Show," 1972

Terry Fugate-Wilcox, installation view, 1972

Installation view from second show of Terry Fugate-Wilcox's "Three-Part Sculpture Show," 1972

Terry Fugate-Wilcox, installation view, 1972

Installation view from second show of Terry Fugate-Wilcox's "Three-Part Sculpture Show," 1972

Terry Fugate-Wilcox, installation view, 1972

Terry Fugate-Wilcox in his three-part sculpture show "Perpetual Kinetics," 1972

Terry Fugate-Wilcox in his three-part sculpture show “Perpetual Kinetics,” 1972

Terry Fugate-Wilcox, Perpetual Kinetics, installation view, 1972. Photo: Terry Fugate-Wilcox.

Exhibition Description

In the first show, six large rectangular areas of wall were painted red, blue, yellow, green, black, and white respectively. Each area was brightly and evenly flooded with light, causing the area in front of each piece, and consequently, anyone who entered the area, to be bather in bright reflected light of the color of each piece.

In the second show, long strips of bi-metal were arranged in a series of loops, which moved and rolled in reaction to temperature, occasionally banging into each other with a musical, metallic sound. A wider strip of bi-metal, resting on its side, curled into an ellipse when cool, and straightened out when warm.

Another piece consisted of seven long ropes of different materials strung from one end of the room to the other, at the same level. Their various levels then changed constantly according to changes in temperature and humidity, causing the piece to rearrange itself continuously.

For the third show, the entire room was filled with 20′ two-by-fours. Perfectly straight when purchased new from the lumberyard, they proceeded to become warped and twisted during the show, from their own inherent nature. The contents of the previous shows remained with the inclusion of the newer pieces. [statement by Valerie Shakespeare]

Excerpted from Brentano, R., & Savitt, M. (1981). 112 Workshop, 112 Greene Street: History, artists & artworks. New York: New York University Press.

Related Material

Invitation for Terry Fugate-Wilcox, Three-Part Sculpture Show, 1972

Installation view from first show of Terry Fugate-Wilcox's "Three-Part Sculpture Show," 1972
Installation view from first show of Terry Fugate-Wilcox's "Three-Part Sculpture Show," 1972
Installation view from the first show of Terru Fugate-Wilcox's "Three-Part Sculpture Show," 1972
Installation view from second show of Terry Fugate-Wilcox's "Three-Part Sculpture Show," 1972
Installation view from second show of Terry Fugate-Wilcox's "Three-Part Sculpture Show," 1972
Installation view from second show of Terry Fugate-Wilcox's "Three-Part Sculpture Show," 1972
Terry Fugate-Wilcox in his three-part sculpture show "Perpetual Kinetics," 1972

Terry Fugate-Wilcox, installation view, 1972

Terry Fugate-Wilcox, installation view, 1972

Terry Fugate-Wilcox, installation view, 1972

Terry Fugate-Wilcox, installation view, 1972

Terry Fugate-Wilcox, installation view, 1972

Terry Fugate-Wilcox, installation view, 1972

Terry Fugate-Wilcox in his three-part sculpture show “Perpetual Kinetics,” 1972

Terry Fugate-Wilcox, Perpetual Kinetics, installation view, 1972. Photo: Terry Fugate-Wilcox.