1969 was the year Nelson Rockefeller and Bill Paley, the head of CBS, “hit the ceiling” when they saw the results of MoMA’s unsanctioned collaboration with the Art Workers Coalition. Unsanctioned because a museum’s membership, unlike its rosters, are “non-partisan”; unsanctioned because the public poster campaign exhibited a landscape of dead babies overlaid with a fragment of the Medlo interview— the words “And babies?” in Marlboro red. Next to Andy Warhol’s Mao, this is possibly the best-known work of propoganda art of the 1960s.
Art history provides a lot of ways to name the unnameable and to see it named. Who alone is capable of creating from cause what they’ve experienced at effect? Lozano’s Drawing for Lucy’s Peace Show, executed in February of ‘69, is a monument to fragility; a euphemism for everything that can’t go in Artforum and everything that can’t exist without it: “When you ‘start to make it’ throw your own printed matter on the pile. Let it be covered up by time the way everybody else’s is.”
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