For the 2022 edition of Frieze Masters, Garth Greenan Gallery is pleased to present a selection of seven works by Al Loving, Howardena Pindell, and Jaune Quick-to-See Smith. The works in this presentation mark pivotal moments in each artist’s career.

Despite the whirlwind successes of his hard-edged abstractions that made him the first African American to secure a solo exhibition at the Whitney Museum in 1968, Al Loving, radically altered his practice in the 1970s. In Square (1973–1974), Loving stitched together a mass of cut and torn canvas, boldly pigmented with dyes ranging from yellows and pinks and oranges to deep purples and moss greens. In contrast to some of the works that would come later, the work still maintains some evidence of its geometric precursors in its central use of the square. Yet Loving's patchwork fabric fragments – the lower right corner seemingly have fallen loose – move beyond the lingering concentric squares with liberated dynamism.

Howardena Pindell’s spray dot paintings of the 1970s are among her most iconic works. In Untitled (1972), the artist sprayed paint through hole-punched cardstock and manila folders, forming layers of vibrant dots across large-scale canvases. The result is a staggering and sensuous interplay between background and foreground—one that creates endless fluctuations in light and color. Pindell saved the leftover cardstock chads to later use as keystones in her works—embedding them into the thick painted surfaces of her cut and sewn canvases, as in her new works on view at Garth Greenan Gallery through October 29.

Jaune Quick-to-See Smith’s Montana Memories: Salish (1988) and Montana Memories: Pipestone (1989) are both separated into distinct compositions of rectangles—a reference to the boundaries of the Indian reservations created and enforced by the U.S. government. Each canvas is a partitioned mix of memory that includes the darker legacy of cultural contact and conflict. In Montana Memories: Pipestone, a large patch brick red pigment—the color of the catlinite rock used to carve ceremonial pipes—dominates the composition. In the following decade, the artist formalized her exploration of red pigment as a signature of Native American identity through her iconic I See Red series. Even in these earlier works, the saturated red pigment performs simultaneous acts of affirmation and resistance.

Garth Greenan Gallery is pleased to represent Jaune Quick-to-See Smith, Howardena Pindell, and the Estate of Al Loving.