Untitled (Diagonals) 1970

Editor: So, this is François Morellet's "Untitled (Diagonals)," a drawing from 1970. It’s really dizzying to look at! Just endless interlocking diagonal lines. What do you see in this piece? Curator: What strikes me is its commitment to a kind of systemic approach. Morellet, part of a generation questioning artistic authority, deliberately removed subjective expression. Do you think that resonates today, where algorithms increasingly shape visual culture? Editor: Absolutely, it feels very modern in that sense. Was there a particular social context driving that removal of the artist’s hand? Curator: Precisely. Post-war, there was a broader societal distrust of authority, reflected in art’s turn away from heroic narratives. The grid became a way to democratize the artistic surface, so to speak, a space devoid of hierarchy. Editor: So, the rigid structure is itself a kind of statement. But doesn’t that also risk becoming another form of dogma, just one based on rules? Curator: That’s a fantastic point! Indeed, while intending to subvert established norms, this rigid system inadvertently introduces its own set of constraints. The tension between freedom and constraint became central. Editor: I never thought of geometric abstraction in that political way before. Curator: Seeing the art within its historical context, the challenges that artists grappled with, offers a new dimension to even the seemingly simple image. What’s your takeaway? Editor: I’m definitely going to rethink how I approach minimalist art now. It's not just about aesthetics; it’s about questioning the very structures of power and creation.