“Herrera’s only true affiliation is with pure Modernism, reflecting the ethos and underpinnings of the International Style of architecture”

Herrera’s work has remained uncompromisingly abstract and minimal throughout her career – although the hard-edge, rectilinear qualities of her paintings are, on closer inspection, belied by their obviously hand-painted expanses of color.

In an essay written for this catalogue which accompanies the Lisson New York exhibition - designed by Peter Willberg and featuring photographs of Herrera’s New York studio and home - the American curator and critic Robert Storr states: “In Alpes (2015) Herrera sets up what promises to be a pattern of green and white triangles alternating like clenched teeth but leaves out the last green ‘tooth’ so that the whole sequence dissolves into an open expanse of white that is barely contained by the outer edge of the diptych.”

Being neither gender - nor nationality - specific as an artist, Herrera’s only true affiliation is with pure Modernism, perhaps reflecting the ethos and underpinnings of the International Style of architecture as much as any era of art production.