Left: Lygia Clark, proposition Estruturas vivas (Live structures), 1969, in use,
probably in Paris in the early 1970s. The object is made out of knotted rubber bands. Courtesy Associação
Cultural “O Mundo de Lygia Clark,” Rio de Janeiro. Right: Lygia Clark in her studio, Rio de Janeiro, c. 1950s. Courtesy Associação Cultural
“O Mundo de Lygia Clark,” Rio de Janeiro
Lygia Clark, proposition Ping-pong (1966) in use. The objects are Ping-
Pong balls and a plastic bag. Courtesy Associação Cultural “O Mundo de Lygia Clark,” Rio de Janeiro.
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Installation view of "Lygia Clark: The Abandonment of Art", 1948-1988 at The Museum of Modern Art,
New York. Photo by Thomas Griesel. © 2014 The Museum of Modern Art
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Installation view of "Lygia Clark: The Abandonment of Art", 1948-1988 at The Museum of Modern Art,
New York. Photo by Thomas Griesel. © 2014 The Museum of Modern Art
2286
Installation view of "Lygia Clark: The Abandonment of Art", 1948-1988 at The Museum of Modern Art,
New York. Photo by Thomas Griesel. © 2014 The Museum of Modern Art
2286
Installation view of "Lygia Clark: The Abandonment of Art", 1948-1988 at The Museum of Modern Art,
New York. Photo by Thomas Griesel. © 2014 The Museum of Modern Art
2286
Installation view of "Lygia Clark: The Abandonment of Art", 1948-1988 at The Museum of Modern Art,
New York. Photo by Thomas Griesel. © 2014 The Museum of Modern Art
Installation view of "Lygia Clark: The Abandonment of Art", 1948-1988 at The Museum of Modern Art,
New York. Photo by Thomas Griesel. © 2014 The Museum of Modern Art
until August 24, 2014
Lygia Clark: The Abandonment of Art, 1948–1988
organized by Luis Pérez-Oramas, The Estrellita Brodsky Curator of Latin American Art, MoMA and Connie Butler, Chief Curator, Hammer Museum with Geaninne Gutiérrez-Guimarães and Beatriz Rabelo Olivetti, Curatorial Assistants, Department of Drawings and Prints, MoMA
MoMA
11 West Street, New York