Saturday, March 2, 2013 , Posted by LATINO EVENTS Y TESPIS MAGAZINE at 3:16 PM

Esta es la lista actualizada del Top Art en Nueva York para el resto del invierno y el comienzo de la primavera. El Museo del Barrio presenta superreal: alternative realities in photography and video. Seguimos con Picasso (con Kandinsky, Kupka y Picabia) entre los artistas presentes en Inventing Abstraction en el MoMA y con Matisse en In Search of True Painting en el Museo Metropolitano.
El Museo del Bronx celebra sus 40 años de fundado con Honey, I Rearranged The Collection; el Whitney nos invita a re-descubrir su colección de American Legends: From Calder to O’Keeffe y el ICP monta una esperada retrospectiva de las fotografías de CHIM. En el Guggenheim tendremos la primera retrospectiva del influyente colectivo de arte japonés Gutai y en otro 'first', la Colección Frick nos trae a Piero della Francesca, figura fundacional del Renacimiento. Dejando los 'big boys' a un lado, la Galería Marlborough presenta al pintor Julio Larraz; la galería de la Americas Society exhibe al mexicano Yishai Jusidman; la Galería Magnan Metz con el también mexicano Juan Puig con su reconocido proyecto SEFT-1 y Alexandre Arrechea en el Mall de la Park Avenue. Alejandra Padilla exhibe en la Galería Praxis Art. Otras adiciones al listado: La artista Marela Zacarias exhibe en el Brooklyn Museum y las Ferias de Arte más importantes toman la ciudad: The Armory Show, Volta NY, Scope NY, Independent, Affordable Art Fair and more!.
Picasso Black and White, presentando una faceta poco conocida del maestro español, se encuentra ahora en Houston; El icónico The Scream de Edvard Munch en el MoMA y Manolo Valdés sigue en el Jardín Botánico.
                                   LO NUEVO

superreal: alternative realities in photography and video > Museo de El Barrio > Hasta Mayo 19 > superreal.

This exhibition explores the layered meanings and interpretations of the real as it is represented in photography and video art. Drawing on the presentation of the landscape, the human figure, the world of architecture, various objects and natural phenomena, these images explore alternative realities despite their use of the photographic or video image, traditionally understood as a reflection of actuality. superreal features works that challenge the notion of the camera’s lens as presenting visual accuracy and explores the subversion of narrative form, the creation of a parallel reality, surreal or super-real encounters with objects, people and environments. Partial, hidden, or enigmatic meanings are explored by the artists gathered here. Iconic works by significant photographers and video artists are included along with newer works by younger artists. The incisive points of view and varied methodologies seen here allow the artists to create works that explore the limits of narrative form and its relationship to reality. The works, ranging in dates from the early 1960s to the present, reveal the various ways in which the real is emphasized and subverted, revealed and obscured.

Foto: Betsabee Romero (Mexico, 1963)Ayate con Perro (Ayate fabric with dog), 2005. Chromogenic print, 22 x 40 in. El Museo del Barrio, Gift of the artist and Ramis Barquet

NEW YORK ART FAIRS: March-April > Several locations.

1) Armory Show: March 7-10 > Piers 91-92 > Armory.

2) ARMORY ARTS WEEK > March 5-10 > 

3) Volta NY > March 7-10 > Volta.

4) Scope > March 7-11 > ScopeNY.

5) Independent NY > March 7-10 > Indie.

6) The Affordable Art Fair > Abril 3-7 > AAF.

Raw/Cooked: Marela Zacarias > Brooklyn Museum > Hasta Abril 28 > Zacarias.

The second season of Raw/Cooked presents a series of four exhibitions by under-the-radar Brooklyn artists who have been invited by the Brooklyn Museum with support from Bloomberg to show their first major museum exhibitions. The artists are given the opportunity to work with the Museum’s collection and to display in spaces of their choosing, however unconventional.
The four artists in the series were recommended by an advisory board of well-known Brooklyn artists, including Michael Joo, Paul Ramírez Jonas, Amy Sillman, and Mickalene Thomas, each of whom proposed several promising artists. Brooklyn Museum curator Eugenie Tsai made the final selections.
The seventh exhibition in the Raw/Cooked series, titledSupple Beat, presents the work of Gowanus-based artist Marela Zacarias. Recommended by Ramírez Jonas, Zacarias has created four site-specific sculptural works inspired by the Williamsburg Murals, uniting her interests in abstract forms, the history of objects, and urban renewal. Her large-scale pieces appear to be climbing the walls of the Museum’s first-floor lobby and Great Hall, interacting with the architecture as if they were murals come to life. Zacarias draws on the concept of resilience implied by the Williamsburg Murals and explores the idea of bouncing back from adversity, relating to the history of the public housing project for which the murals were commissioned and the history of the works themselves. She constructs her unique sculptural forms from window screens and joint compound, which she then paints with original patterns. In Supple Beat, Zacarias’s patterns are inspired by the related murals’ unique color palettes and geometric forms. Born and raised in Mexico City, Zacarias has painted more than thirty large-scale public murals. She holds an MFA from Hunter College.
Foto: Marela Zacarias at work on 163–213 Manhattan. Photo courtesy of Pierce Jackson, 2013

HONEY, I REARRANGED THE COLLECTION > Celebrating 40 years > Hasta Junio 2 > BRONX

Created in 1986, the Bronx Museum Permanent Collection has assembled over the years a remarkable group of artworks that convey not only personal narratives but also incisive insights onto contemporary life. For this exhibition, we took inspiration from Allen Ruppersberg's ongoing series Honey, I rearranged the Collection initiated in 2000 and that puts in check the role of institutions, curators and collectors as the bearers of tradition and arbiters of taste. Overlaying different traditions, styles, and narratives, Honey, I rearranged the Collection presents an idea of museum as a restless play of combination.
Honey, I Rearranged the Collection features artworks from the 40th Anniversary's 40 Years, 40 Gifts campaign, which has received support from Ford Foundation and the Jacques and Natasha Gelman Trust, as well as individual funders.

ALEJANDRA PADILLA : ∞ > Hasta Marzo 30 > Galería Praxis Art > PADILLA.

Contemporary artist, Alejandra Padilla was born in San Miguel de Tucumán, Argentina in 1961. She studied journalism at the J.F.Kennedy University in Buenos Aires, Argentina, and Art History at the University of Buenos Aires (UBA). Early in her career she worked as a journalist, art dealer, and as an independent art curator. In 1994 she presented her first work as a visual artist, « Angeles de Luz I” at the Award Manuel Belgrano were she participated in her first group show at the Recoleta Cultural Art Center in Buenos Aires. Since then she participates in awards, art fairs, and international group exhibitions. She had his first solo exhibition in 1997 at the Ricardo Rojas Cultural Art Center, Buenos Aires. Alejandra lives in Buenos Aires - Argentina, and New York City - US.

Julio Larraz > Marlborough Gallery > Hasta Marzo 16 > LARRAZ.

          Julio Larraz La pesca de la langosta, 2011 oil on canvas

Stylistically, Larraz’s work may be characterized by simplicity of touch, dramatic lighting, sensuous colors, exaggerated scale, and a combination of reality and fantasy that is generally tropical in atmosphere. His subjects are often metaphors for such things as isolation, melancholy, the absurdity of power, or political intrigue. His paintings frequently incorporate Greek myths and legends, art history dialogues, and contemporary history.
Many of the pieces included in this exhibition embody an overarching characteristic of Larraz’s work: he creates a strong nar- rative element with latent implications that go beyond what is represented on the canvas. The critic Christofer Finch wrote, “a constant in Larraz’s art is the always ambiguous interaction between man and nature... Larraz has a virtuoso’s ability to conjure up the physical world. Beyond this he takes a poet’s delight in evoking imaginary universes, so that every image seems to take on a special significance in the context of the whole, as if it has been plucked from some epic that has yet to be written.”

Prussian Blue – Memory After Representation: Yishai Jusidman > Hasta Marzo 23 > Americas Society Gallery > JUSIDMAN.

Haus Der Kunst, 2011; from the series Prussian Blue. Image courtesy of the artist. 

Yishai Jusidman (b. Mexico City, 1963) finds in his new series, Prussian Blue, an alternative way to address the meeting of collective memory and aesthetics in order to deal with major concerns of both contemporary memorials and history-based artistic deliverances, as well as with some often overlooked sources that contemporary paintings may exploit. Responding to an ethical imperative inspired by the works of Primo Levi and Claude Lanzmann as a means to focus on issues of representation, memory, and trauma, Jusidman aims to render a truth that asserts his artistic investigation on the complexity of our contemporary visual experience: through a place where the materiality of the medium and the perception of the image collate in the meaning of the picture.
The source for the fourteen paintings in the Prussian Blue series are photographs showing the architecture of gas chambers at various concentration camps used during World War II. Some were taken soon after the end of the war and others are more recent images of the camps now turned into public memorials. For the development of his pictures, Jusidman used exclusively three coloring materials that overlap the process of painting and the functioning method of the genocidal gas chambers. The first color is the same Prussian blue pigment (ferro cyanide) that unintentionally appeared on the walls of the gas chambers as a by-product of the Zyklon B gas. The artist not only replicates these colored stains in their actual materiality, but also marks his pictures’ settings as a whole in Prussian Blue. The second material is a silicon dioxide powder used for the pellets that delivered the gas to the sealed chambers, with which Jusidman creates the suggestion of a vaporous curtain by introducing it into his painting medium. As a third substance, he selected paints conventionally used for rendering skin tones (i.e. flesh tone, flesh tint, blush, etc.) to refer to the millions murdered within the architecture depicted in his work.

Meaning Making: Imaginarios fragmentados de doce artistas de Cantabria > Instituto Cervantes > Marzo 5 al 30 > Cantabria.

Si tomamos el arte contemporáneo como una forma de exploración de la infinita complejidad del mundo, un modo de aprehenderlo y comunicarlo, podemos interpretar el trabajo de los doce artistas de Cantabria que integran esta exposición como una cartografía de nuevos imaginarios, nuevas conciencias y cosmovisiones. Que tienen en común y que resuelven sus obras a partir de la inclusión de diversos materiales: referencias a la historia de las artes, documentos relacionados con su experiencia vital o relecturas y ensamblajes de imágenes de variada procedencia.

* Juan Puig : Not a Car > Magnan Metz Gallery > Enero 23 - Marzo 9 > PUIG.

La SEFT-1 es un proyecto de arte transdisciplinario, de interacción y difusión pública, que propone la exploración de vías de ferrocarril en desuso como punto de partida para la reflexión y la investigación; su importancia histórica, sus implicaciones sociales, circunstancias y contextos actuales. Aborda dos polos de la experiencia social de la tecnología: la utilidad y el desecho. La SEFT-1 es un vehículo capaz de viajar tanto en tierra como sobre las vías, esta sonda exploratoria tiene el objetivo de hacer un levantamiento de fotografía, video, audio y texto de sus encuentros, del paisaje e infraestructura alrededor de los trayectos, así como entrevistas con los pobladores a pie de vía etc... Transmite la información a su sitio web,, en el cual se puede monitorear el estado de la sonda, su ubicación, rutas trazadas en mapas geoposicionados, ver imágenes y videos de sus recorridos y accesar a información de contexto editada por un equipo de investigación. Esta Información también es mostrada en proyecciones en algunas de las poblaciones por las que pasa.


ALEXANDRE ARRECHEA : NO LIMITS > Park Avenue Malls > Hasta Junio 9.

Rendering of the Seagream Building in Alexandre Arrechea's
2013 No Limits series for Park Avenue Malls. 

Playing on the idea of elastic architecture as a metaphor for the challenges and opportunities of shifting conditions and new realities, No Limits will present 10 massive sculptures embodying New York's most prominent buildings. Iconic landmarks represented will include: the Chrysler Building, Citicorp Center, Empire State Building, Flatiron building, Helmsley Building, MetLife Building, Metropolitan Life Insurance Company Tower, Seagram Building, Sherry Netherland, and US Courthouse. The sculptures, which will appear to roll, wind, and spin their way down Park Avenue from 53rd to 67th Street, will reach towering heights of up to 20 feet.
Throughout his work, artist Alexandre Arrechea uses sculpture, watercolor and video to ponder the idea of destabilizing traditional concepts held about icons and their function in society. The art is meant to create a dialogue with the public that raises questions of control, power, surveillance and one's role within these categories. Through iconic architectural buildings and urban spaces, Arrechea plays and entices the viewer to explore this concept.

Gutai: Splendid Playground > Febrero 15 - Mayo 8 > Guggenheim Museum > GUTAI.

Yoshihara Jirō. Circle, 1971. Oil on canvas 182 x 182 cm.
The Miyagi Prefectural Museum of Art, Sendai, Japan

Gutai: Splendid Playground, a retrospective of the Gutai Art Association (1954–72), the radically inventive and influential Japanese artistic collective whose innovative and playful approaches to installation and performance yielded one of the most important international avant-garde movements to emerge after World War II. Based on fifteen years of research, Gutai: Splendid Playground provides a critical examination of both iconic and lesser-known examples of the collective's dynamic output over its two decade history and explores the full spectrum of Gutai’s creative production: painting, performance, installation art, sound art, experimental film, kinetic art, light art, and environment art. Gutai: Splendid Playground is the first North American museum exhibition devoted to the Gutai group and offers a comprehensive interpretation of the convention-defying movement.
The exhibition also includes documentary films of the group’s historic outdoor exhibitions and stage events and offers a focus on their eponymous journal as a platform for international artistic exchange. A centerpiece of Gutai: Splendid Playground is a site-specific commission of Work (Water)(1956/2011) by the late Motonaga Sadamasa. Prior to his death in 2011, Motonaga reimagined his iconic early Gutai outdoor installation, made of plastic tubes filled with colored water, for the Guggenheim rotunda.

* Piero della Francesca in America > Febrero 12 - Mayo 19 > The Frick Collection > PIERO.

Piero della Francesca (c. 1411/13–1492), Madonna and Child Attended by Angels, c. 1470s, oil (and tempera?) on wood transferred from panel, The Sterling and Francine Clark Art Institute 

Revered in his own time as a "monarch" of painting, Piero della Francesca (1411/13–1492) is acknowledged today as a founding figure of the Italian Renaissance. The Frick Collection will present the first monographic exhibition in the United States dedicated to the artist. It brings together seven works by Piero della Francesca, including six panels from the Sant'Agostino altarpiece — the largest number from this masterwork ever reassembled. They will be joined by the Virgin and Child Enthroned with Attendant Angels, his only intact altarpiece in this country. Piero della Francesca in America is organized by guest curator and former Andrew W. Mellon Fellow Nathaniel Silver. The related catalogue will include essays by James Banker, Professor Emeritus, North Carolina State University; Machtelt Israëls, Guest Researcher, University of Amsterdam; Elena Squillantini, masters candidate, Università degli Studi di Firenze; and Giacomo Guazzini, doctoral candidate, Scuola Normale Superiore di Pisa.
Exclusive to the Frick, where it will be shown in the Oval Room, this important exhibition will also be accompanied by a rich and varied schedule of lectures, gallery talks, and seminars. 


Inventing Abstraction, 1910–1925 > Hasta Abril 15 > MoMA > ABSTRACTION.

Pablo Picasso. Femme å la Mandoline. Oil on canvas. Museum Ludwig, Cologne. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS), New York.

In 1912, in several European cities, a handful of artists—Vasily Kandinsky, Frantisek Kupka, Francis Picabia, and Robert Delaunay—presented the first abstract pictures to the public. Inventing Abstraction, 1910–1925 celebrates the centennial of this bold new type of artwork, tracing the development of abstraction as it moved through a network of modern artists, from Marsden Hartley and Marcel Duchamp to Piet Mondrian and Kazimir Malevich, sweeping across nations and across media. The exhibition brings together many of the most influential works in abstraction’s early history and covers a wide range of artistic production, including paintings, drawings, books, sculptures, films, photographs, sound poems, atonal music, and non-narrative dance, to draw a cross-media portrait of these watershed years. 

Matisse: In Search of True Painting > Hasta Marzo 17 > Met Museum > MATISSE.

Young Sailor II, 1906
Oil on canvas; 39 7/8 x 32 5/8 in. (101.3 x 82.9 cm)
The Metropolitan Museum of Art, New York, Jacques and Natasha Gelman Collection, 1998 (1999.363.41)
© 2012 Succession H. Matisse / Artists Rights Society (ARS), New York 

Henri Matisse (1869–1954) was one of the most acclaimed artists working in France during the first half of the twentieth century. The critic Clement Greenberg, writing in The Nation in 1949, called him a "self-assured master who can no more help painting well than breathing." Unbeknownst to many, painting had rarely come easily to Matisse. Throughout his career, he questioned, repainted, and reevaluated his work. He used his completed canvases as tools, repeating compositions in order to compare effects, gauge his progress, and, as he put it, "push further and deeper into true painting." While this manner of working with pairs, trios, and series is certainly not unique to Matisse, his need to progress methodically from one painting to the next is striking. Matisse: In Search of True Painting presents this particular aspect of Matisse's painting process by showcasing forty-nine vibrantly colored canvases. For Matisse, the process of creation was not simply a means to an end but a dimension of his art that was as important as the finished canvas.

We Went Back: Photographs from Europe 1933–1956 by Chim > Hasta Mayo 5 > ICP > CHIM.

Chim, [Children playing on Omaha Beach, Normandy, France], 1947.
© Chim (David Seymour), Magnum Photos. 

This retrospective exhibition traces the development of Chim's career as an intellectually engaged photojournalist, placing his life and work in the broader context of 1930s–50s photography and European politics. Born Dawid Szymin in Warsaw, Chim (who after WWII published under the name David Seymour) began his career in 1933 photographing for leftist magazines in Paris. In 1936, along with his friends Robert Capa and Gerda Taro, Chim traveled to Spain to photograph the civil war in support of the Republican side, publishing regularly in all the major European and American picture magazines. Chim was an astute observer of 20th-century European political affairs, workers' rights, and culture, from the beginnings of the antifascist struggle to the rebuilding of countries ravaged by World War II. The exhibition will showcase over 120 mainly vintage black-and white and color prints, publications in which his work originally appeared, contact sheets, and personal material. The exhibition is organized by ICP Curator Cynthia Young.
+ ALSO at ICP: Roman Vishniac Rediscovered.
Roman Vishniac Rediscovered brings together four decades of work by an extraordinarily versatile and innovative photographer for the first time. Vishniac (1897–1990) created the most widely recognized and reproduced photographic record of Jewish life in Eastern Europe between the two World Wars.

American Legends: From Calder to O’Keeffe > Ongoing > Whitney Museum > LEGENDS.

Stuart Davis (1894–1964), Owh! in San Paõ, 1951. Oil on canvas, 52 1/4 × 41 3/4 in. (132.7 × 106 cm). Whitney Museum of American Art, New York; purchase 52.2. © Estate of Stuart Davis / Licensed by VAGA, New York, NY 

American Legends: From Calder to O’Keeffe showcases the Whitney’s deep holdings of artwork from the first half of the twentieth century by the eighteen leading artists: Oscar Bluemner, Charles Burchfield, Paul Cadmus, Alexander Calder, Joseph Cornell, Ralston Crawford, Stuart Davis, Arthur Dove, Charles Demuth, Marsden Hartley, Edward Hopper, Gaston Lachaise, Jacob Lawrence, John Marin, Reginald Marsh, Elie Nadelman, Georgia O’Keeffe, and Joseph Stella. Organized as one- and two-artist presentations, this exhibition provides a survey of each artist’s work across a range of mediums.American Legends is organized by Barbara Haskell, Curator.
As part of this rotating exhibition, works by these artists are on view at the Museum through May 2013: Oscar Bluemner, Charles Burchfield, Paul Cadmus, Alexander Calder, Joseph Cornell, Ralston Crawford, Stuart Davis, Charles Demuth, Marsden Hartley, Edward Hopper, Jacob Lawrence, Reginald Marsh, Elie Nadelman, Georgia O’Keeffe, and Joseph Stella.

Liz Nielsen. Tiger Teeth: Red Light > Hasta Abril 20 > Benrimon Contemporary > NIELSEN.

Composition: Two Birds, 2012
Unique Chromogenic Photograph 

Nielsen’s presentations and inventions turn the outer world inward, making one world into two and interchanges the subjective with the objective. She layers and intersects shapes, lines, and colors that are found in both created and pre-existing landscapes; each revealing connections that may otherwise go unnoticed. Inwardly, these images, places and spaces fall flat and locations become ambiguous. Time exists outside of the frame.
Within these unique photographs, Nielsen experiments with the physics of light. By mixing wavelengths and dividing the light spectrum, she composes images both mathematically and intuitively without a camera. The compositions are built one transparent layer at a time with the aim of creating color harmonies. When the negatives are exposed in the darkroom, the opposite wavelengths appear on the photographic paper and their resulting abstract shapes invite the imagination to see new images. The artist playfully engages the imagination even further with titles such as Tiger Teeth, Two Birds, and Castle Rocket; where one sees a castle, the other a crown; where one sees two birds, someone else might see a phoenix, a centaur or even a hatchet, thus becoming a Rorschach-style test of sorts.

Chroma : Featuring: Shoplifter, Elizabeth Jobim, Alexandre Mazza, Patricia Claro, Alicia Ehni, Carolina Gomez, Cabelo, and Yoshi > Hasta Abril 12 > Frederico Sève Gallery > Chroma.

Carolina Gomez, Diamante Azul, 2012, Oil on canvas, 59 x 47.2 in

Velázquez's Portrait of Francesco I d'Este > A Masterpiece from the Galleria Estense, Modena > April 16–July 14 > Velazquez.

Velázquez (Diego Rodríguez de Silva y Velázquez) (Spanish, 1599–1660). Duke Francesco I d'Este, 1638. Oil on canvas. Galleria Estense, Modena © su concessione del Ministero per i Beni e le Attività Culturali.

Among the most distinctive portraits by Diego Velázquez is one he painted of Francesco I d'Este (1610–58), the Duke of Modena, during the duke's visit to Madrid in 1638 to secure the support of Philip IV. The duke is shown in armor, wearing a red sash, his head turned toward the viewer. It is a work that conveys a quality of arrogance and sensuality, and is a high watermark in the history of baroque portraiture, while also illustrating the importance of Velázquez's portraits to Spanish diplomacy. In 1843 the painting was acquired by the Galleria Estense—one of the most prestigious of Italy's regional museums—in Modena, Italy, and it has never before been lent to an institution in the United States. This special, three-month loan coincides with the re-installation of the Metropolitan's collection of Old Master paintings. It not only makes accessible to an American public one of the least known of Velázquez's works, but also calls attention to the severe damage suffered throughout the Italian region of Emilia Romagna after a devastating earthquake in May 2012. The Galleria Estense has been temporarily closed due to the damage it sustained.


Manolo Valdés : Monumental Sculptures > Hasta Mayo 23, 2013 >> The New York Botanical Garden > VALDES.

Drawing inspiration from the natural landscape of the Botanical Garden, seven towering sculptures by acclaimed Spanish artist Manolo Valdés showcase the relationship between art and nature. The sculptures have been sited to take maximum advantage of the Garden's dramatic views with special attention given to the visual impact of the changing seasons. The artist has designed the installation to include surprising changes in the visual character of the sculptures throughout the seasons.

The Scream de Edvard Munch > MoMA > Hasta Abril 29 > Munch.

Edvard Munch. The Scream. Pastel on board. 1895. © 2012 The Munch Museum/The Munch-Ellingsen Group/Artists Rights Society (ARS), New York.

Edvard Munch’s iconic The Scream (1895) is among the most celebrated and recognized images in art history. Of the four versions of The Scream made by Munch between 1893 and 1910, this pastel-on-board from 1895 is the only one remaining in private hands; the three other versions are in the collections of museums in Norway. The Scream is being lent by a private collector.
A haunting rendition of a hairless figure on a bridge under a yellow-orange sky, The Scream has captured the popular imagination since the time of its making. The image was originally conceived by Munch as part of his epic Frieze of Life series, which explored the progression of modern life by focusing on the themes of love, angst, and death. Especially concerned with the expressive representation of emotions and personal relationships, Munch was associated with the international development of Symbolism during the 1890s and recognized as a precursor of 20th-century Expressionism.

HISPANIC SOCIETY >> Vision of Spain de Joaquín Sorolla > Permanent collection on view > Audubon Terrace > The Hispanic Society of America.

Vision of Spain. Detail. Joaquín Sorolla. 

* Picasso Black and White > Hasta Mayo 17 > Museum of Fine Arts, Houston, Texas. > B&W.

Marie-Thérèse, Face and Profile (Marie-Thérèse, face et profil)
Paris, 1931
Oil and charcoal on canvas, 111 x 81 cm
Private collection © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York
Photo: Béatrice Hatala 

Picasso Black and White, the first major exhibition to focus on the artist’s lifelong exploration of a black-and-white palette throughout his career, will be presented at Museum of Fine Arts, Houston. The exhibition features 118 paintings, sculptures, and works on paper from 1904 to 1971, and will offer new and striking insights into Picasso’s vision and working methods. This chronological presentation includes significant loans—many of which have not been exhibited or published before—drawn from museum, private, and public collections across Europe and the United States, including numerous works from the Picasso family. 


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