We are thrilled to announce our participation in Art Basel 2026, in the Feature sector, with a solo presentation by Marcia Hafif (1929–2018). The curated solo presentation is dedicated to historical works from Marcia Hafif’s Acrylic Paintings series from 1972 and ones from the Italian Paintings series from 1961–1969. This is the very first time the Acrylic Paintings series is shown at an art fair since their last exhibition in the mid-70s at the gallery of Ileana Sonnabend in New York and at Hubert Winter in 2023. After living in Rome (1961–1969), Hafif, who is amongst the most relevant painters of her time, moved to New York in 1971, which marked the end of her previous painting style “Pop Minimal”. Following this decisive rupture was a completely new artistic practice. This transition is made traceable by the presentation.

ABOUT ARTISTS : Marcia Hafif

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Marcia Hafif is highly regarded for her oeuvre of monochromatic paintings, being associated with minimal and process art and the Radical Painting group. After graduating from Pomona college in 1951 she travelled to Italy and eventually settled in Rome, living there for almost ten years, producing a cohesive body of work, titled as Italian Paintings. In 1969 she returned to the United States and accomplished a Master of Fine Arts at UC Irvine in California, beginning to experiment with photography, video, film and sound. In 1971 she moved to New York—in a moment when painting seemed to be irrelevant as an artistic medium—where she beg- an to deal again with painting. In her essay Beginning Again she undertakes a deconstruction of the medium—accentuating her as vivisector of painting in a crucial moment of its history. Her understanding of painting as a tactile, visual, retinal object; considering the factors of making a painting; acknowledging it as historical statement; and as a form of thought—transmitting philosophical ex- periences—reveals the conceptual aspect of her work. Each brushstroke is not in a representational relation but becomes a necessity of an interaction between the painter and an experience. Looking closer at her diverse oeuvre the influence of place and time on her practice becomes apparent. Each medium and practice bears relation to a specific environment. Roman Paintings, TGGT Paintings, the photographs of Pomona Houses, videos like Vienna Suite, architectural work like the Lusthus Wanås or the designs for the mu- seum A Place Apart, etc. are all characterized by an indexicality of space and time. This thorough examination is also displayed in a very distinct conceptualization of the difference between repetition and series.

Milano Straps

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