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Beverly Fishman, Dividose M.B.V., 2013, triptych, enamel on polished stainless steel, overall 60 x 72". From the series, “Dividose,” 2002–.

Beverly Fishman

Eli and Edythe Broad Art Museum

Beverly Fishman, Dividose M.B.V., 2013, triptych, enamel on polished stainless steel, overall 60 x 72". From the series, “Dividose,” 2002–.

Using the Broad Art Museum’s new Zaha Hadid–designed building to advantage, curator Alison Gass has installed two separate yet related series of Beverly Fishman’s geometric paintings from the past three years on the irregular, pentagonal ground floor. The title of the show, “Focus,” comes across as a pointed pun, given that it is precisely focus itself that these paintings—much like the deconstructivist building that is hosting them—destabilize, distract, and charge with dizzying physical energy.

Fishman’s densely layered works are silk-screened onto bases of polished stainless steel that mirror distorted versions of the surrounding environment. Their quintessentially Op-art effect—a heightened immediacy and disorienting illusion of incessant oscillation—is thus amplified by their reflective properties. Fishman was heavily influenced by the hard-edge abstract

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