The first work I see is Alpes (2015), a snow white rectangle cut by two deep green triangles. Like much of Herrera’s work, the painting confounds ideas of figure and ground, or background and foreground. She offers multiple ways of seeing the interlocking forms; someone else might see the green first, between mountains of white.
And while there’s something exceedingly enticing about Herrera’s crisp contrasts between colors, equally vital are her singular compositions. As Robert Storr points out in the exhibition catalogue essay, “The invigorating, one can even say suspenseful, essence of these works is their fundamental instability.” From rectangles filled with asymmetrical, alternating stripes, to a six-sided canvas checkered with red and white, to diptychs and triptychs that repeat patterns or conjoin to form a single symmetrical motif—it’s impossible to know what the artist might do next. A surprising, powerful sculpture made from intertwining blocks of aluminum, Untitled Estructura (Blue) (1962/2015), only adds to the mix. But even so, each work feels connected, fundamentally related, like members of a family.