Edward Krasiński and Eustachy Kossakowski were friends, artists, and key members of the Polish neo-avant-garde of the 1960s and 70s. Their recent exhibition at BROADWAY 1602, titled “J’ai perdu la fin!!!” (I Have Lost the End), is a retrospective of their collaborative work. Nearly a hundred small, framed black-and-white photographs, often organized into series, show Krasiński staging a gesture, setting up a sculpture or performing an action for Kossakowski’s camera, in endless variations of an artist making lines out of rubber, wire, string, and, yes, his familiar tape.> The photographs are accompanied by a few examples of Krasiński’s sculptural work: the 1969 Bobbin, for example, a blue circle being unraveled and wound into a bobbin of blue thread (or vice-versa), and the three geometric abstract reliefs titled Interventions (of 1981, 1992 and 1994) that open the rectangular frame of a painting onto space. But the Interventions, like many of Krasiński’s objects seem like mere supplements to his greater work—the famous blue line. For better or worse, Krasiński’s career has been defined by a single concept, described in his own words as: “Plastic tape Scotch blue, width 19 mm, length unknown. I stick it horizontally on everything and everywhere, at a height of …