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Exhibition Title

46 | Cubism and Abstract Art

Cubism and Abstract Art

Mar 3 - Apr 10, 1936, Museum of Modern Art, New York
Curator: Alfred H. Barr
The exhibition was subsequently shown in San Francisco, Cincinnati, Minneapolis, Cleveland, Baltimore, Providence, and Grand Rapids.
Although Alfred Barr states in the catalog's introduction that he is offering little which is new, his famous timeline on the catalog's jacket with the different movements in art from 1890 – 1935 offered for the first time a synthesis of the complex and interwoven concepts. The exhibition's different sections show his in-depth outreach and new approach: Painting, Sculpture, Constructions, Photography, Architecture, Industrial Art, Theatre, Films, Posters, Typography.
Cubism and Abstract Art remains until today one of the most important exhibitions in many concerns. [See: Susan Noyes Platt, 'Modernism, Formalism, and Politics: The »Cubism and Abstract Art« Exhibition of 1936 at the Museum of Modern Art; in: Art Journal, Winter 1988, Vol 47, No. 4, pp. 284-295]
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Five Contemporary American Concretionists

Mar 9 – 31, 1936, Paul Reinhardt Galleries, New York
Curator: Albert Eugene Gallatin
Only three blocks away from MoMA's Cubism and Abstract Art at 11 W 53rd St. Albert Eugene Gallatin organized Five Contemporary American Concretionists in the Paul Reinhardt Galleries at 730 Fifth Avenue # 57th (this is the Heckscher Building [today Crown Building], the very same address where the MoMA opened to the public on November 7, 1929, on the twelfth floor), with a defined focus on American artists of the modernist movement: Charles Biederman, Alexander Calder, John Ferren, George L. K. Morris, and Charles Green Shaw.
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In 1989 Abstraction - Geometry - Painting at the Albright-Knox Art Gallery, Buffalo, organized by Michael Auping provides a good survey on abstract painting in America since 1945.
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In December 2012 Inventing Abstraction, 1910–1925 at the MoMA, New York, organized by Masha Chlenova, and Leah Dickerman revisits this important epoch, drawing a cross-media portrait of these watershed years.
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