Carmen Herrera, Sunday, 1978, acrylic on canvas, 64 × 42". From the series “Days of the Week,” 1972–78.

New York

“Carmen Herrera: Lines of Sight”

Whitney Museum of American Art
99 Gansevoort Street
September 16–January 2

Curated by Dana Miller

Born in Cuba just a few years after the emergence of abstraction, Carmen Herrera has built a more than seven-decade career that is a testament to patient discipline: She sold her first painting at the age of eighty-nine, and the last time a New York institution hosted her works was in 1998, at El Museo del Barrio. If the lore of Herrera’s sudden prominence threatens to outshine the work itself, the Whitney will bring us back to the heart of her sustained exploration of color and form, focusing on the postwar years between 1948 and 1978, during which she honed her prismatic, hard-edged abstraction, first in Paris and then New York. More than fifty paintings and drawings will be on view, along with a few wooden sculptures. Among these works are two series that serve as jumper cables for modernism: the spatially electric “Blanco y Verde” (White and Green), 1959–71, and the seven large canvases that comprise “Days of the Week,” 1975–78—a bright celebration of structured time, which Herrera has undeniably mastered. Travels to the Wexner Center for the Arts, Columbus, OH, Feb. 4–Apr. 16, 2017.