paris

Jesús Rafael Soto, Doble progresión azul y negra (Double Progression Blue and Black), 1975, paint, metal, 10' × 11' × 11' 3".

Jesús Rafael Soto

Galerie Perrotin | Paris, Saint Claude

Jesús Rafael Soto, Doble progresión azul y negra (Double Progression Blue and Black), 1975, paint, metal, 10' × 11' × 11' 3".

Jesús Rafael Soto’s late works stage elaborate visual puzzles. Take Sans titre (Aléatoire 2) (Untitled [Random 2]), 1996, as an example. More than six feet high and thirteen across, this mural-scale construction features ultrathin white vertical stripes on a black ground. Superimposed on this surface is a grid of sixteen by thirty-two tiny squares, some raised off the plane and some lying flat. The majority of the squares have the same pattern of stripes set horizontally, so that these clash painfully with the verticals behind them, producing the signature “vibration” effect of Op art. Twenty-four of the squares are various solid colors, including black and white; like the striped ones, some are raised and some lie flush. The rigidly organized accents of color recall an icon of the persistence of geometric abstraction in postwar Paris: Ellsworth Kelly’s Colors for a Large Wall,

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