It’s hardly a coincidence that the first two large exhibitions of Mary Heilmann’s work in Europe were held in Zurich. After the shock waves sent out by Zurich Dada during World War I, the city became a center for Concrete art, thanks to the efforts of Max Bill and Richard Lohse. And now Heilmann—whose painting both echoes and moves beyond these traditions—has come on the scene. Combining the anarchic spirit of the Cabaret Voltaire with analytical acuity, she deviates from stylistic norms, but with the kind of precision for which Lohse became known. In the process her work remains painterly,