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k paintings that seemed to turn inside out all the values, pictorial and emotional, held sacrosanct in the 1950s. Even more than the flags, targets, and number charts of Johns, chosen for the same exhibition, Stella's paintings looked insolently static, intractably single minded. Willfully rivaling the Abstract Expressionists by perpetuating their heroic, mural scale, these four canvasses (each over 9 feet high or wide) appe

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