The Italian art of the period spanning the late 1940s through the 1970s is currently undergoing widespread reinterpretation. Under these circumstances, this exhibition of the work of Mario Nigro, a leading practitioner of a rigorous brand of abstraction, could not have been more timely. The show, accompanied by a catalogue with a text by Luca Massimo Barbero, documented two periods of the artist’s work, quite distinct but connected by his care for the relationship between the two-dimensional work, space, and time. It opened with Ritmo verticale (Vertical Rhythm), 1948, a surface rhythmically traversed by a single line, revealing Nigro’s debt to his historic models, namely Kandinsky, Mondrian, and Malevich. But it also provided an immediate introduction to rhythm, the dynamizing element introduced by the Futurists, as evidenced particularly by Giacomo’s Balla’s linee andamentali,
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