de La Tourette, and investigated the ideas of living with the legacy of modernism, but also faith, which is inherent within a certain type of modernism. There is both a faith in progress and originality in much modernist thought, and a faith in purity and essence within a strain of modernist reductionism, notably in Clement Greenberg's writing.
The artists selected for Perfidy can all be seen as reflecting on, and reinterpreting perfidiously preceding modernist history. The location of this intervention resonated with its themes. La Tourette’s uncompromising formalist brutality can be seen as a triumph of architectural refinement imbued with inherent religiosity or as an utter failure—unsuccessful as the building did not successfully serve its function.
The exhibition was later developed to fill the modernist galleries at Kettle’s Yard in Cambridge.
A full colour catalogue accompanied this exhibition with an essay by Simon Groom.