The artwork belongs to Agnes Martin’s (Macklin, CA, 1912 – New York, USA, 2004) mature phase, in which the formal rigor of the geometric grid and the apparent minimalism of her language open to the possibility of color and imperfect freehand strokes. If we admire the artwork from a certain distance, the lines traced on its surface disappear, showing a blank space, infinite and supernatural, which entices our gaze to contemplation.
Agnes Martin