NEW YORK, NY.- Opening at Americas Society on June 4, 2025, the exhibition Fanny San韓: Geometric Equations, will highlight San韓’s important contributions to the development of abstract art in both Latin America and the United States.

Featuring colossal acrylic paintings, intimate smaller compositions, and insightful pencil studies, the exhibition will guide visitors through the evolution of the artist's geometric explorations, highlighting the subtle transformations in San韓’s use of color and form.

On view until July 26, 2025, and curated by Dr. Edward J. Sullivan, the show is the first institutional survey exhibition in New York of the acclaimed Colombian-born and New York-based artist.

“The works on view—from preliminary small studies to final, often monumental, finished products —trace her evolution from gesture to hard-edged nonobjectivity while providing a window into the nature of her complex process,” said Sullivan, who is the Helen Gould Shepard Professor in the History of Art at New York University.
The show is part of a mission to preserve San韓’s work and make it available for future generations. “We are proud at Americas Society to contribute towards that goal with the hopes that this exhibition is the first of many solo shows exploring the richness of San韓’s expansive career,” says Americas Society’s Director and Chief Curator of Art Aim� Iglesias Lukin.

Born in Bogot� in 1938, San韓's professional career illustrates a continuous development from initial expressionistic art to her signature geometric works. San韓 studied fine art at the University of the Andes in Bogot�, and later, at the University of Illinois, Champaign-Urbana, and the Chelsea School of Art, London. She then moved to Monterrey, Mexico, where she had her first solo exhibition in 1964. By the time she relocated permanently to Manhattan in 1971, San韓 had already begun advancing her own mode of depicting complex hard-edged geometric forms with interweaving lines and complementary or contrasting colors.

This dedication to geometric abstraction has positioned San韓 as a key figure within several generations of pioneering Latin American women abstractionists.
In the exhibition’s catalogue, Ana Mar韆 Reyes, Associate Professor of Latin American Art History, Boston University, writes that San韓’s paintings “inspire spiritual and emotional respite during these times of uncertainty.”

According to Reyes, San韓’s carefully constructed compositions provide “a meditative experience, reinforcing the timeless human pursuit of order and harmony.” In Acrylic No.1, 2021 (see above) diagonal lines and red tones dominate, reinforcing an aspiration toward transcendence and spiritual elevation, said Reyes. “San韓 juxtaposes dark colors with vibrant tones in order to generate energy,” she wrote.
The painter's rigorous working methods are shown in the exhibition through the display of preparatory sketches, and they are further contextualized by Eric Marciano's film, Fanny San韓 The Critic's Eye: Reflections on Pure Abstraction, about San韓’s career, which highlights key archival materials. Carlos Motta has contributed his expertise as the exhibition designer. Sullivan, the curator, and Motta are members of the Fanny San韓 Legacy Project, an initiative dedicated to the promotion and long-term accessibility of her artistic contributions.

The exhibition is part of Art at Americas Society’s Women Artists Series, dedicated to important yet underrecognized women artists from Latin America. The series began in 2022 with an exhibition of Mexican sculptor Geles Cabrera, it continued in 2023 with a show on Chilean interdisciplinary artist Sylvia Palacios Whitman and in 2024 with a mid-career survey of Argentine artist Alejandra Seeber.