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After lying dormant for more than three decades, Eva Hesse's 'Expanded Expansion' returns in a somewhat different form at the Guggenheim.

Do you identify with any particular school of painting?I DON’T THINK I EVER DID any traditional paintings—except what you call Abstract Expressionism. I most loved de Kooning and Gorky, but that was personal—not for what I could take from them. But I know the importance of Kline and Pollock and now I would say Pollock before anyone, but I didn’t feel that way when I was growing up. Oldenburg is an artist that I really believe in. I respect his writings, his person, his energy, his art, the whole thing. He has humor, and he has his own use of materials. But I don’t think I’ve taken ...

SIXTY YEARS AGO, in Artforum’s very first issue, our founding editor, Philip Leider, threw down the gauntlet for art’s autonomy. “Art and artists will flourish when an admiring public buys paintings because they love them; if the myth that buying art is a good investment (in the Wall Street sense) is perpetuated, the result can only be disaster for both.” I took his words—from a blistering review of two 1961 publications on art and money—as an early expression of the magazine’s ethos, which made speculation a constitutive exclusion. The keyword for me here was not myth or disaste...

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A focused exhibition devoted to influential and experimental artist Eva Hesse (b. 1936, Hamburg, Germany; d. 1970, New York) is on view July 8 through