ELAINE LUSTIG COHEN 

It is more than likely that you have seen Elaine Lustig Cohen’s designs for buildings, interiors, books or exhibitions. Stopping on a street corner, you might have lingered over a stack of New Directions paperbacks whose California-hued Constructivist covers caught your eye. If you have studied Minimalism, you might recall the image of a vivid red line snaking through a large P on the cover of the Jewish Museum’s 1966 “Primary Structures” catalogue. Strolling through Mies van der Rohe and Philip Johnson’s Seagram Building, you might have noticed the blunt font used on the signage. These are just a few of the projects Cohen realized within the two decades of her design career. Cohen collaborated with Johnson for almost a decade and is now the subject of an exhibition at his Glass House. Rather than illustrate the obvious, the show celebrates a lesser-known part of Cohen’s creative activities—her dynamic geometric abstractions on canvas. Nine of these paintings, made between 1966 and 1976, are on view.

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