The Gerhard Richter show will be the last of the Met's in the Breuer building. Next time your'e there it will be part of the Frick, a giant pop up now to different large neighboring institutions. It is a retrospective, yes, but I had trouble finding the 'there-there' . There are indeed some important works, more of the recent than earlier. but one sees a career that like Picasso's with its many style changes and different families takes some complementary narrative. Mysterious horizontal brush work is a unifying theme. Wall labels are all important as the show seems organized both by subject matter and period. It's impossible to get Florian Von Donnersmarck’s film Never Look Away out of your head which was the biopic that Richter cooperated with and then rejected but which did give some context to the life. There's a video on the Met website that is very good. These are my favorites. Go to the Met website for more images as the show is alas now closed.

Photos courtesy Met Breuer.

Lucio Fontana: On the Threshold at the Met Breuer comes at the proper moment. We are all ready to pierce and slash things right now, and Fontana gives us a vision of how we might do that and also produce beauty. What better metaphor for our times?

In his early years, Fontana, an Argentinian-Italian hybrid, made wonderful sculptures with a rare freedom both in form and color also riffing on the Majolica which was omnipresent (they oddly reminded me of Dana Schutz’s new series). His work was popular almost right away and he received a commission on the Life of the Sea, which showed his affinities for the natural world. They were to be totally obscured in the later work.

He is particularly famous for two series that broke through the picture plane.

The ‘Concetto spaziale,’ which were first conceived as screens for the transmission of light, display holes punched in patterns on canvas connecting us to the void, the infinite, the 4th dimension.

The early gallery of these, without chroma, but instead a kind of washed out beige, are so very pure.

I feel like my heart is being pierced. Somehow they made me think of Janis Joplin’s lyric “Take a little piece of my heart now baby.”

Later, he added chroma, glass and stone and the paintings grew larger, but those don’t have the same resonance. There is actually a pink painting that looks like the cavity of the chest—perhaps too literal.

His “Cuts” series was considered his most radical, acts of sabotage painting. These are likely the ones you are more familiar with. Fontana said it was as hard to decide where to put the cuts as anything else he had done, and that he then folded them back and affixed them to the back of the canvas. No more fenestration as with the holes—just violent fissures. Once again, it’s impossible not to think of our contemporary social and political anguish.

A decade later, he had cycled through color and come back to white, using house paint because it was flatter.

Fontana has come back into vogue along with his compatriots Alberto Burri and Piero Dorazio and the mid-century school of Italian painting, design and architecture. Here at the Met we have the reason why.

January 23 - April 14, 2019.