Implements and Entrenchments

‘Neil Jenney, a self-taught artist, art historian and philosopher, who still clings to utopian ideals, is the quintessential maverick of a New York art heard that often likes to stand lumped together. He stands alone. Let him see a movement – Pop or Minimalism _ and he won’t push into the marching parade like colleagues who scurry hither and yon eager to find a place, eager to find an identity, eager to belong. He’ll watch from afar…’ (P. Gardner, ‘Neil Jenney 1960-1970’, Neil Jenney The Bad Years 1969-70, exh. cat., Gagosian Gallery, New York 2001, p.5).