Gaby Collins-Fernandez considers the work of Georgia O’Keeffe.

Collins-Fernandez concludes “The openness with which O’Keeffe considers observation allows a viewer to track formal similarities between the works. It’s just that what she was looking at was not so limited—her dreams and thoughts, photographs, landscapes, art she’d seen, edges, shadows, shapes. This variety, and the ease with which the work slips between more and less referential imaging allows us to find that the edge of a mountain is similar to her idea of a line in space; or to track the use of idiosyncratic color combinations and compositional strategies over visually unrelated series. There is a slippery, almost punny, communication of forms between the works and O’Keeffe’s eye, interests, and the world as it appears, that is distinctly unconcerned with determining irrefutable essential truths. At a time when untruths and symbols are being commandeered politically for the sake of arguments about what looks like the right form of identity, citizenship, and loyalty, fewer conjectured essences and more imagination in looking at the meanings of forms sounds good to me.”