This is the first presentation in over fifty years dedicated to Riley’s works on paper, and it includes over seventy-five works from the artist’s own collection.
These works’ pictorial strategies, and others from the 1970s on, though their initial effects are still op, align them with many of the now marginalized practices of post-50s hardedge and geometric abstract art. With this insight, I realized Riley’s practice extends beyond her association with Op art and that her work can be contextualized within the broader aesthetic discourses of early and late modernism.
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