Suprasensorial, an exhibition of large-scale installations is currently on display at the Hirshhorn Museum in Washington DC. This essay is both a critical analysis of its content as well as its place in history.
The exhibition features the work of five artists who abandoned traditional art in favor ephemeral and subjective forms based on light, color, motion and space. Created between the late 50’s and mid-70’s the pieces accurately reflect a tumultuous period of global change in both society and design, where upheaval and destabilization were the norm. More specifically, they reveal color’s innate functionality as a reference tool and container of meaning. Their collective message is equally poignant today - dehumanized cities must be reconsidered, the public is worthy of meaningful communal experiences, and color is an agile and powerful tool in the effort to stitch together society’s disparate components.