This exhibition is focused on a relatively short segment of Carmen Herrera’s long career (she is now 101), namely 1948 to 1978. It presents her painting in Paris during the years immediately after World War Two, and then her development when she moved to New York. In the first gallery you find Siete (1949), a relatively small painting with hard-edged yellow, red and black forms. The Parisian works in this room show her experimenting with hard-edge abstraction, moving quickly, restlessly seeking resolution, not always with entire success. Untitled (1947-48), for example, is a fussy-looking construction of many relatively small circles and geometric forms, an all-over composition which feels cramped; and Untitled (1948) a decorative display of intersecting rectangles lacking a clear resolution.