
Tauba Auerbach presents a family of new works in various media, reflecting on currents and concurrence. These include a new generation of pointillist paintings depicting liquid foams photographed through a microscope. Hand-painted dots gather into refractive images on sprayed panels that float slightly off the wall. Earlier works in the series looked at foam’s architecture; these focus on its interaction with light.
Of the material, Tauba has said: “Foam often exists at an edge, like the edge of the ocean or the edge of a glass. It’s the unruly boundary between two domains (liquid and air), where order in the traditional sense breaks down, and a new type of organization emerges. There is no grid, no overarching structure or repeating pattern, but instead, a set of tendencies causing certain geometric relationships to arise and recur.”
The exhibition also includes groups of photographs recording hot and cold currents of water with a heat-sensitive camera attachment. Presented in a new, small format and primarily in black and white, they reveal variations and movements invisible to the naked eye. Crystalline, stochastic sounds are produced by glass chimes suspended around the gallery. Finally, pairs of moving sculptures gently rotate in relation to one another.
Across these works, turbulence takes a fruitful and coordinated form.
Courtesy Paula Cooper Gallery.



San Francisco-born Tauba Auerbach’s practice manifests itself in many forms, predominantly in painting but also in the realms of photography, graphic design and performance. All works share a conceptual grounding in a determination to push the limits of perception, logic, systems, structures, linguistics, mathematics and even space. In patterns and equations, logic has its limits. Auerbach does not seem to believe in absolutes; reaching the breaking points of each field, she instead offers her viewers a world of new possibilities.
Paula Cooper Gallery, the first art gallery in SoHo, opened in 1968 with an exhibition to benefit the Student Mobilization Committee to End the War in Vietnam. The show included works by Carl Andre, Dan Flavin, Donald Judd, Robert Mangold and Robert Ryman, among others, as well as Sol LeWitt’s first wall drawing.

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