This show was a rather articulate declaration of Carlo Guaita’s intentions and of the possible ways in which his investigations might develop. The four works (all Untitled, 1989) confirmed his adherence to a cold, minimal set of values—to a taut, spare language based on the structure of the grid. Although made of solid iron, the structures seemed light and ephemeral, more mental than physical. And the proof of their flexibility lay in their range of possibilities.

In one work here, Guaita engages in an openly conceptual play between painting and structure, between the field of infinite mental