Milan

View of “Roman Opałka,” 2019. From left: Détail 1896176–1916613; Détail 1916614–1940089; Détail 1940090–1965011, all works undated.

View of “Roman Opałka,” 2019. From left: Détail 1896176–1916613; Détail 1916614–1940089; Détail 1940090–1965011, all works undated.

Roman Opalka

BUILDING

Fondazione Querini Stampalia

Like its now-closed opening chapter in Milan, the Venice installment of this extensive exhibition—which remains on view through November 24—features a selection from Roman Opałka’s famous series “OPALKA 1965/1–∞,” 1965–2011, along with earlier works that have rarely or never been seen in Italy. The show hinges on the decisive date of 1965, when, making a commitment that he would stick with until his death in 2011, the artist decided to devote himself to canvases bearing consecutive sequences of diminutive white painted numbers, from one to (theoretically) infinity, which he presented alongside photographic self-portraits made on the completion of each painting.

Starting in 1972, each time he began a new painting, Opałka added 1 percent more white paint into the gray background onto which he painted his numbers; from 2008 to his death, his paintings were white on white. Every canvas in the

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