Memo to Mozart

“Like the paintings of Twombly, Johns and Frank Stella, Chamberlain’s sculpture has remained on the cutting edge of contemporary art through several later generations of painters and sculptors… His configurations are in a referential state, but their constant re-forming slips out of the adjectival grip; ultimately they transcend the language of analysis and description.  The ravishing opticality must be its own pleasure and reward” -Klaus Kertess, “Color in the Round and Then Some: John Chamberlain’s Work, 1954-1985”, John Chamberlain: A Catalogue Raisonné of the Sculpture, 1954-1985, New York, 1986, p. 38.