Everything Is Connected

Ruth Asawa: Untitled (S.046a-d , Hanging Group of Four, Two -Lobed Forms), 1961. Copper and brass wire, (a): 152.4 × 43.2 × 17.8 cm; (b): 53.3 × 30.5 × 30.5 cm; (c): 81.3 × 33 × 33 cm; (d): 104.1 × 40.6 × 40.6 cm. Collection of Diana Nelson and John Atwater, promised gift to the San Francisco Museum of Modern Art © 2026 Ruth Asawa Lanier, Inc., courtesy David Zwirner; photo: Laurence Cuneo
  • Words Ayla Angelos

There is a photograph from 1954 of Ruth Asawa sitting cross-legged on her studio floor, a half-finished wire sculpture in the works. Her hands are mid-motion, looping brass wire around itself in the same continuous gesture she would repeat and reinvent for the next sixty years. It's a small, unremarkable-looking action – wire bent into a loop, then another, then another – and yet from it grew one of the most distinctive sculptural vocabularies of postwar American art: bulbous, transparent forms that hang from gallery ceilings like floating jellyfish, their shadows pooling on the floor.Born in 1926 on a farm in Norwalk, California, the fourth of seven children to Japanese immigrant

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Episode #1

Antonio Citterio

Issue Four S/S 2026