Marcia Hafif’s (b. Pomona, CA, 1929–2018) explicit—and often overlooked—work inaugurates a phase of liberating “synthesized" abstraction that dually deconstructs the narrative of art history and that of Marcia Hafif as a predominantly monochromatic painter. Indeed, Hafif herself rejected her identification with the branding of minimalism, an ideology she derided as “the primacy of the one, the icon, the (patriarchal) singularity of the Pure, the Absolute.”
Marcia Hafif: From the day a woman… gathers previously seen and unseen paintings, texts, drawings, films, ephemera and constructions, and offers a reconsidered view of the artist’s conceptually framed but corporeally liberated and sensuously tactile oeuvre, that is staggering in its ambition and breadth of achievement.
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