Dia’s show will feature two live reconfigurations of “Series D” in May and August. As Lowry explained, Posenenske revisited her art practice just before she died in 1985. In collaboration with her husband, she categorized her original works from the 1960s as “prototypes” and specified that they could only be sold to public institutions. She authorized her estate (run by Brunn) to sell reproductions of the work in modern materials. These can be purchased, like the originals, at the cost of production.
Posenenske’s innovation in creating infinitely reproducible, low-cost artworks is a move that remains radical today. When asked whether the low costs of her work steered away potential buyers, Lowry responded diplomatically, but with honesty. “The fetish for originality and discrete value is undermined by her practice, and it was hard for collectors,” she admitted. “She did have collectors that purchased these works in the 1960s for minimal costs. Some people understood the practice, but the art world just works against that so forcefully.”
Considering her commitment to accessibility, Posenenske’s decision to stop making art can be interpreted as a response to the art world’s obsession with scarcity and high price tags. Lowry understands her 1968 manifesto in this way. “It’s frequently framed as a rejection of art, but in my reading, she’s disillusioned with the art world as a system for disseminating the works that she’s made,” she said.