ArtAsiaPacific

On the heels of the exhibition “Modernisms: Iranian, Turkish, and Indian Highlights from NYU’s Abby Weed Grey Collection,” which showcased works from the 1960s and ’70s, Grey Art Gallery’s first presentation of the year further widened the lens on 20th-century art from the Middle East, Asia, and North Africa. “Taking Shape: Abstraction from the Arab World, 1950s–1980s,” curated by Suheyla Takesh and Lynn Gumpert, represented a joint effort with the Sharjah-based Barjeel Art Foundation to consider modernist movements from the region and the diaspora.

Grey Art Gallery’s “Modernisms: Iranian, Turkish, and Indian Highlights from NYU’s Abby Weed Grey Collection” offered as much a sampling of global art practices during the 1960s and ’70s as it did a glimpse into the collector’s eye. Grey, the museum’s founder, notably sought out contemporary artists in those regions at a time when art discourse remained largely Eurocentric, with cross-cultural exchange as the primary tenet of her collecting efforts during the Cold War.