Daniel Graham (March 31, 1942 – February 19, 2022) was an American visual artist, writer, and curator in the writer-artist tradition. In addition to his visual works, he published a large array of critical and speculative writing that spanned the spectrum from heady art theory essays, reviews of rock music, Dwight D. Eisenhower's paintings, and Dean Martin's television show. His early magazine-based art predates, but is often associated with, conceptual art. His later work focused on cultural phenomena by incorporating photography, video, performance art, glass and mirror installation art structures, and closed-circuit television. He lived and worked in New York City. Childhood and early career Dan Graham was born in Urbana, Illinois, the son of a chemist and an educational psychologist. When he was 3, Graham moved from Illinois to Winfield Township, New Jersey, and then to nearby Westfield. He had no formal education after high school and was self-educated. During his teens, his reading included Margaret Mead, Claude Lévi-Strauss, the literary critic Leslie Fiedler, and the French Nouveau Roman writers. Work Graham began his art career in 1964, at the age of 22, when he founded the John Daniels Gallery in New York City. He worked there until 1965, when he started creating his own conceptual pieces. During his time at the gallery, he exhibited works by minimalist artists such as Carl André, Sol LeWitt—LeWitt's first solo gallery show, Donald Judd, Robert Smithson, and Dan Flavin. When making his own work, Graham proved himself to be a wide-ranging post-conceptual artist who worked at the intersection of minimalism and conceptual art. His work consisted of performance art, installations, video, sculpture, and photography. Commissioned work included Rooftop Urban Park Project for which he designed the piece Two-Way Mirror Cylinder Inside Cube and Video Salon (1981–1991). Some other commissions in the U.S. are Yin/Yang at MIT, the labyrinth at the Minneapolis Sculpture Garden, and at Middlebury College, and in Madison Square Park. Graham's work was always firmly based within conceptual art or post-conceptual art practice. Early examples were photographs and numerological sequences, often printed in magazines, such as Figurative (1965) and Schema (1966). With the latter, Graham drew on the actual physical structure of the magazine in which it is printed for the content of the work itself. As such the same work changes according to its physical/structural location within the world. His early breakthrough-work however was a series of magazine-style photographs