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This is more than just a slim catalog following a recent Art Institute of Chicago exhibition; it is also an efficient anthology of language's enduring importance in Mel Bochner's (b. 1940) practice. Art historian Burton's (Bard Coll. & Columbia) essay, James Meyer's (art history, Emory Univ.) interview, and crisp reproductions of Bochner's various innovative exhibitions, magazine interventions, drawings, sculptures, photographs, quote pieces, and paintings reveal an innovative wordsmith of the conceptual generation. There is nothing groundbreaking in Burton's claim that language is the "connective glue" in Bochner's diverse oeuvre and its intellectual preoccupations. This is evident in Bochner's early word portraits of other artists and notecard statements from the 1960s as well as in his loud "Thesaurus Paintings"; recent scholarship, too, deserves more extensive acknowledgment. But Burton and Meyer both probe the historical ramifications and the paradoxes of language as material and offer fresh insights into Bochner's recent work. While other publications offer a broader view-e.g., Richard Field's excellent Mel Bochner: Thought Made Visible 1966-1973(1995)-this one should not be overlooked. Recommended for art library collections.