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The University of Michigan Museum of Art will present “Both Sides of the Line: Carmen Herrera & Leon Polk Smith,” an exhibition merging two of the 20th century’s most imaginative abstract creators in Ann Arbor next month.
Although the artists shared a decades-long relationship, the UMMA exhibition signifies the inaugural assessment of their creations side by side, providing an in-depth exploration of their interconnected heritages and mutual influence on American abstraction.
As neighbors, friends, and trailblazers of geometric abstraction, Herrera (1915-2022) and Smith (1906-1990) frequently delved into comparable themes of shape, hue, and spatial dynamics.
Curated by Dana Miller, a specialist in the oeuvre of Carmen Herrera, the exhibition assembles over 45 pieces, including paintings, paper works, and three-dimensional objects, charting the separate artistic trajectories and interaction between the two creators.
In spite of their varied backgrounds—Herrera, a Cuban émigré, and Smith, a homosexual individual born in Indian Territory—their methods of abstraction converged and diverged in captivating manners.
An intimate and professional exchange
In 1964, Herrera and Smith became neighbors in New York City, establishing a camaraderie and collaborative exchange that persisted for decades. While Herrera’s creations were often pushed to exhibitions focusing on either Cuban or female artists, and Smith’s work sometimes overlooked in favor of other male contemporaries, their unified dedication to abstraction defied prevailing artistic narratives.
Collectively, their artistry highlights how two creators advanced the limits of form, color, and line in ways that remain profoundly significant today.
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“This exhibition serves as a testament to the subtle yet impactful ways in which Carmen Herrera and Leon Polk Smith influenced the evolution of contemporary art,” stated Miller. “Although their backgrounds were remarkably distinct, they fostered a deep companionship and artistic dialogue that informed their methods of abstraction. This exhibition not only honors their camaraderie but also scrutinizes their impacts on American modernism in dimensions that have been neglected for an excessive duration.”
Featuring notable pieces from Herrera’s “Blanco y Verde” series and Smith’s “Correspondence” series, the exhibition illustrates how their creative breakthroughs anticipated styles such as Minimalism and Color Field painting.
However, as contemporaries like Frank Stella and Ellsworth Kelly achieved global recognition, Herrera and Smith continually confronted the systemic hurdles of gender, ethnicity, and xenophobia. While Smith did attain moderate success with sales and gallery representation, Herrera’s creations remained largely overlooked until her later years.
In 2025, Herrera made history as the first Latina in the United States to have her artwork permanently collected and showcased in the White House. Acquired under former First Lady Jill Biden, the painting “Dia Feriado (Holiday)” (2011) is currently displayed in the East Wing.
“Both Sides of the Line,” which is free and accessible to the general public, opens on Aug. 30, 2025, and will run through Jan. 4, 2026.
This account is based on a press release from the University of Michigan Museum of Art
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