Reading Alice Gregory’s fascinating New Yorker piece about the “strange afterlife of Hilma af Klint” brought me back to seeing the remarkable show of her work at the Guggenheim in 2018 (photo from our trip above). From the piece:

When, in 2018, the Guggenheim exhibited “Hilma af Klint: Paintings for the Future,” “it was as if the Vatican of abstraction had canonized her,” Julia Voss, a German historian whose biography of the artist appeared soon afterward, said. The choice of venue seemed almost prophetic. Frank Lloyd Wright’s spiral rotunda looked eerily like a temple to house her works which af Klint had once imagined. The show became one of the most visited in the Guggenheim’s history, and its paintings became a permanent backdrop on social media. In the Times, Roberta Smith wrote that af Klint’s paintings “definitively explode the notion of modernist abstraction as a male project.”