The Geometry of Hope at the Grey Art Gallery
I was finally able to stop by NYU's Grey Gallery last weekend to check out the Latin American Abstract Art exhibition, an interesting, occasionally striking and cool collection of paintings and sculptures from the 1930s through the 1970s; works united by their geometric, mathematical structure and, in the words of the catalog, "a Utopian belief in progress and idealism," or the opposite of the "Geometry of Fear" that apparently dominated the art world in postwar Britain. This is not a destination show by any means, but the great thing about the Grey Gallery is that it's on your way to most everywhere, and it's almost (or completely) free.
The exhibit is organized by city of origin: Montevideo, Buenos Aires, Sao Paulo, Rio de Janiero, Paris (?), and Caracas. I liked the visual vibrations of the wall sculptures of France's Carlos Cruz, the largest of which is below, seen from the front and the side.
The Brazilians, too, had some great stuff, including the piece at top by Hélio Oiticica, and these minimalist pencil drawings.
Not at all to my surprise, however, I liked the Argentinians the best—their energy and cleverness (and, in another context, gorgeousness)—including the three paintings below by Tomás Maldonado, Virgilio Villalba, and Gregorio Vardánega, respectively.
The Grey Art Gallery is located on 100 Washington Square East, between Waverly and Washington Places, right across the street from the park. There is a $3 suggested donation, which I waived without getting any dirty looks. The gallery is closed Sundays and Mondays.