Core to Carmen Herrera’s painting is a drive for formal simplicity and a striking sense of colour: “My quest”, she says, “is for the simplest of pictorial resolutions” (2012). A master of crisp lines and contrasting chromatic planes, Herrera creates symmetry, asymmetry and an infinite variety of movement, rhythm and spatial tension across the canvas with the most unobtrusive application of paint. As she moved towards pure, geometric abstraction in the post-war years in Paris, she exhibited alongside Theo van Doesburg, Max Bill and Piet Mondrian and a younger generation of Latin American artists, such as members of the Venezuelan Los Disidentes, Brazilian Concretists and the Argentinian Grupo Madi. Her work also chimed with painters from the US school such as Barnett Newman, Leon Polk Smith and Ellsworth Kelly. Reflecting on this period, she says, “I began a lifelong process of purification, a process of taking away what isn’t essential” (2005). While allied with Latin American non-representational concrete painting, Herrera’s body of work has established, quietly but steadily, a cross-cultural dialogue within the international history of modernist abstraction.