Centering on T.C. Cannon as narrator of the exhibition, and decentralizing my curatorial voice as the authority, was an intentional strategy I employed to activate Cannon’s Native perspective and to build empathy with the audience.
The apparent plaintiveness and autobiographical transparency of Should Love Come First?, and its early prominence in the then unknown Rauschenberg oeuvre, felt intensified by its obliteration by the artist himself. If ever an artwork had a story worth sleuthing, I figured it was this one, even if it was just the story of its own production.
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