Untitled 1969

Editor: This is an Untitled painting by Eduardo Nery, created in 1969. The patterns feel both geometric and strangely organic, a blend of rigid forms and something more fluid. How should we consider Nery’s materials and process here? Curator: The meticulous construction, the almost industrial precision with which Nery applies paint to create this dizzying pattern, immediately speaks to the material conditions of art making in the late 60s. Hard-edge painting moved away from the gestural, prioritizing surface, color and precise lines. Think of the rise of new synthetic paints; how that changed not just *what* artists painted but *how* they painted, the kinds of effects they could achieve. What labor went into the precise execution of this grid, and what kind of machinery did the artist use? Editor: So you're saying the choice of materials and the labor involved is central to understanding the work's message? I see that, given the flatness inherent in painting pushes us toward pure aesthetic enjoyment. Curator: Exactly! How can we ignore the implications of industrialization that shaped the way the paint was made, and in what ways does the art reflect cultural themes in its time? The labor needed, in effect. That precise surface undermines the traditional hierarchy between fine art and industrial design. Could you consider the pattern itself here: mass production, but also the handmade element. It appears contradictory, doesn’t it? Editor: It does! I hadn't considered the role of the means of production, especially synthetic paints. It adds a whole new layer to my understanding. Curator: And what that reveals about societal norms, about what and who defines Art at any given point in history! Editor: Right, now it feels more connected to its time. Thanks for sharing a new angle on this! Curator: My pleasure. I’m glad I was able to illuminate a new point for you to consider in abstract art, of art as product itself.