About

By 1965 Lozano’s work became more minimalist and geometric, focusing on what she called ‘energy paintings.’ Using three-inch housepainters’ brushes, the artist painted repeated parallel strokes while the pigment was still tacky on the canvas, rendering finely ridged, slightly reflective surfaces that imparted different optical effects and a feeling of accelerated motion.

Cones and cylinders act as agents of speed and violence, sometimes corresponding to their triangular shaped canvases – assembled to create a singular, rectangular composition. Both a striking challenge to painting’s basic …