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"Throughout this plexiglass work, Kauffman considered himself a painter, a self-image that underscores the odd derivation of these pieces from French Impressionism. Like the earlier French painters, he sought a vibrant art object that could not only be looked at, but also looked into. He recognized that in dislocating sight from its utilitarian function, the viewer could celebrate the uniquely nonverbal intelligence of vision"
(R. Armstrong, "Craig Kauffman: Wall Reliefs from the Late 1960s", Whitney Museum of Art, New York, 1987, n.p.).