Asahi Bank, the main creditor bank to
Dia, will also come to the rescue of
Dia by purchasing a part of the credit bought by Cerberus, it said.
In this way, like so many other reclaimed structures of the past decade or two (including Mass MOCA and the exhibition hall at Schaffhausen, which shows mostly American art of the
Dia generation), Beacon also recalls us to the "white cube." This was Brian O'Doherty's now classic designation, some twenty-five years ago in this journal, for the modern gallery space, which he was the first to describe as an ideological space distinguished by a placeless "eternity of display." The white cube, to paraphrase O'Doherty, draws its optical mystique (clean, unshadowed, artificial) from the shallow picture plane of the modernist and late-modernist works it contains, which confirmed the autonomy of the wall.