Butterfly II 1969

Blinky Palermo made this 'Butterfly II,' and you can tell he wasn't messing around. The way he's used these simple, almost severe shapes – a kind of stoic vertical line paired with a geometric form – it's all about distilling form to its essence, to the point that the process becomes the point. What hits me is how the physical presence of the paint teases you. It’s not screaming for attention, but it's there, a quiet hum. Look at how the dark pigment gathers at the edges, almost vibrating against the white. This isn't paint that's trying to hide; it’s got a skin, a texture that says, "I am here, I am material." That vertical line isn't just a line; it’s a statement of being, a mark of process. Palermo's playing with what it means to make a painting, to push the boundaries of the expected. It reminds me a bit of Agnes Martin, in that they both find a kind of liberation in reduction. It’s a bold act of seeing how little you can do and still say so much.