In 1964 a student at the now-defunct Central School of Art and Design in Holborn drew a houseplant. It was an act of possession—a pencil claiming a leaf. By 1966, his hand was already navigating a radical abstraction that was not exactly a rejection of that leaf, but a shattering of it. This sixty-year trajectory of Sean Scully’s landscape-inflected work exists in that fractured space, where the recorded world and the constructed mark remain in permanent negotiation.

At 447 Space, Hughie O'Donoghue’s paintings have arrived like cargo—heavy, freighted, not entirely welcome until they are.

Geometric abstraction today carries a layered visual memory. In Fits and Starts, Robert Storr works squarely within this terrain. Rather than offering a singular resolution, the exhibition is structured as a confrontation between the clarity of a geometric vocabulary and the materiality of paint.

In I Crave to Be All, Mai Blanco’s thought-provoking first solo exhibition in New York, the self-portrait embodies maternity as a lived experience. Here buildups of unconstrained brushwork culminate in buoyantly stylized and theatrical bodies, often positioned within semi-representational landscape settings.

In 1983 the English art critic John Russell, commenting on the newly-executed series of paintings by Sean Scully that are now on view at Lisson Gallery, remarked, “Whoever said that abstract painting was finished?”