H. Arcuata 1971

Editor: So, this is Jo Baer's *H. Arcuata* from 1971. I'm really struck by the… I don't know, the quiet energy? There's so much empty space, yet the two simple shapes are dynamic and really pop, in a kind of reserved way. What do you see in it? Curator: It whispers, doesn't it? At first glance, it feels almost like a diagram, clinical, cool. But, then the edges soften, the colours, while muted, resonate... Almost like faded memories clinging to the edges of consciousness. For me, *H. Arcuata* exists in that liminal space, just beyond definition. Editor: Liminal... yes, I like that. Like a half-formed thought? Is that something you see in a lot of minimalist work, this idea of a half-formed something? Curator: Absolutely. The best Minimalist pieces aren't about nothingness, they're about potential. About the act of perception, how our minds fill in the gaps. Do you find yourself wanting to "complete" the shapes somehow? Editor: A little, yeah! I keep imagining what would happen if the shapes were reflected or connected, so that negative space seems active. Curator: Precisely! Baer challenges us to participate in the work, to become co-creators. The blankness *is* the canvas. And that whisper becomes a conversation. Were you familiar with Barnett Newman's work? He really explores the sublime nature of negative space. Editor: I've heard the name but don't really know the work. This makes me want to investigate more, see these paintings. Curator: It all interweaves, doesn’t it? It’s a delicious, ongoing dialogue. Editor: Definitely gives me something new to think about – it’s not just about *what’s* there, but what *isn’t*.