Louise Nevelson is in front of her work, speaking to Alberto Giacometti: they do not realise they are being photographed, and the only person posing for the camera is the curator of the American Pavilion, Dorothy C. Miller. We are at the XXXI Biennale in 1962, […]

The decisive year of 1959 marked the artist’s official passage to an institutional level, and also marked the passage from her use of black to white – which would also be the case in Venice; but her inclusion in that exhibition – an exhilarating occasion if we are to think of it now, given the company – is precisely the measure of the esteem that Nevelson had achieved previously, above all for the series of four annual exhibitions, with their impressive work concept, held at the Grand Central Moderns in New York.

Mauro Panzera, The Collages of Louise Nevelson, text in the catalog