You are not likely to find the work of Mimi Gross and Marcia Marcus in the permanent collections of any major New York City museum. I find that both predictable and troubling.
Each of these exhibitions showed me something I had not seen before.
Marcia Marcus’s paintings at Eric Firestone Gallery, which span the late 1950s to early ’70s, are connected by a thread of iridescent material.
In 1960, the art world was not ready to accept Marcia Marcus’s conceptual approach to portraiture.