Claes Oldenburg and Larry Poons selected the artists who would exhibit in December, 1975.
Poons chose Pamela Jenrette, a young painter who obtained her BFA from the University of Texas in Austin. After moving to New York, she quickly found herself immersed in the 70’s downtown art scene, first working on a film set with Andy Warhol and later becoming Poons’ studio assistant. The paintings she exhibited at Artists Space were rough abstractions, straightforward enough to reveal the process by which they were made, their internal sense of gravity generated by a repetitive, scraping stroke. Eventually, following her inclusion in the Whitney Biennial, Jenrette would give up painting and film altogether to pursue a successful career as a freelance makeup and hair stylist.
Burton, who was chosen by Oldenburg, exhibited a quiet piece entitled Pastoral Chair Tableau that consisted of carefully selected modern chairs staged in front of a long blue curtain. Before deciding to make his own work, Burton had worked as a critic and editor of Art News and Art in America during the 1960s. Arriving at art through performance, Burton’s practice took a turn with the show at Artists Space, his first in New York. Whereas previous pieces had involved actors occupying the same space as the chairs, this piece abandoned any human component. Pastoral Chair Tableau functioned definitively as sculpture at the same time that it posed the possibility of performance: sculpture disguised as prop. Later fabricating his own furniture, Burton would become known as a pioneering figure for edging art into the realm of design before his death of AIDS in 1989.