The 1971 exhibition at the UCLA Art Gallery "Transparency, Reflection, Light, Space," which included works by Larry Bell, Robert Irwin, Craig Kauffman, John McCracken, and Peter Alexander, was art history's formative introduction to the informal movement.
The term came to refer to the work of artists who playfully flirted with Op art, Minimalism, and geometric abstraction with an emphasis on transcendentalist levity, boundary-dissolving luminescence, and-in place of New York Minimalism's hard-edged industrial materials-an embrace of cutting-edge space-age fabrication methods. Similar to the New York Minimalists, the Light and Space movement, as it is now known, was closer to a loosely defined sensibility than an organized collective. How could artists in the second half of the 20th century respond to the austerity and material purity of Minimalism that had swept America in the wake of Abstract Expressionism and at the tail end of the Modern period? What possible counter could there be for New York's particular breed of sculpture, in which the artwork was conceived as a hermetic physical presence, exemplified by the massive geometric fabrications of Richard Serra, Donald Judd, Robert Morris, et al? In the 1960s, as Minimalism was quickly becoming the de rigueur style of American art's intelligentsia, another group of young artists across the country were engaging with the same stripped-down aesthetic ideals, but awash in Southern California vibes.
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