chicago

Jo Baer

Rhona Hoffman Gallery

It is more than just the vagaries of fashion or the recent focus on geometric abstract painting that has rekindled interest in the Minimalist paintings of Jo Baer. Her works seem to be imbued with a kind of probity, a sense of relentless logic and structured accomplishment that is refreshing. There may be a faint air of nostalgia to such interest, a wished-for return to the issues broached a generation ago. The seven Baer paintings in this exhibition, done between 1962 and ’72, address the “classic” agendas of Minimalist painting: its concern with the painting as a physical object, its interest in the function and articulation of the edge, its determination to reduce pictorial data to the simplest and least referential voice possible, its cult of the flat, and its intense urge toward analytical and intellectual essences, which gradually took on an almost puritanical ferocity.

Baer’s pursuit

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.