New York

View of “Hélio Oiticica,” 2018–19.

View of “Hélio Oiticica,” 2018–19.

Hélio Oiticica

Galerie Lelong & Co.

With its no-frills title, the exhibition “Spatial Relief and Drawings, 1955–59,” offset one of the suspended objects made by Hélio Oiticica (1937–1980) with two of his early series from the late 1950s. The first, “Metaesquemas,” 1957–58 (loosely translated as “Metaschemes” or “Metastructures”), comprises abstract gouache drawings on cardboard, and the second consists of works produced during his affiliation with Grupo Frente, an artist collective founded by Oiticica’s teacher Ivan Serpa and active in Rio de Janeiro from 1954 to 1956. With members including Aluísio Carvão, Lygia Clark, and Lygia Pape—and champions such as the critic Mário Pedrosa—Grupo Frente sent a shiver up the rationally ordered spines of the Concrete movement, injecting their geometric abstractions with sensuality and spontaneity, all in the name of creative freedom.

Constituting the bulk of this show, Oiticica’s “

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