In a significant development for the legacy of one of the 20th century’s most influential artists, Paula Cooper Gallery and Sprüth Magers have announced a joint commitment to stage dedicated exhibitions of the work of Frank Stella in New York next spring. The announcement, which comes as the art world continues to reflect on the immense contributions of the American master who passed away in May 2024, signals a concerted effort by two of the industry’s most respected galleries to re-examine and elevate Stella’s radical approach to abstraction.
In addition to the forthcoming New York gallery shows, both institutions will feature prominent works by the late artist at their respective booths during Art Basel Paris later this month. These presentations serve as a precursor to the larger exhibitions, offering collectors and scholars an early look at the curatorial direction being taken in collaboration with the Estate of Frank Stella.
These upcoming exhibitions mark the first time since the now-closed Mnuchin Gallery’s memorial show, "Homage to Frank Stella," held in September 2024, that the artist’s work will be the primary focus of gallery-led solo presentations. By organizing these shows, Paula Cooper Gallery and Sprüth Magers are stepping into a pivotal role in stewarding Stella’s secondary market presence and academic reception in the months following his passing.
A History of Creative Dialogue
Both galleries arrive at this collaboration with deeply rooted, albeit distinct, histories of working with Stella. Sprüth Magers, known for its strong international footprint, previously mounted two major solo exhibitions for the artist: a 2016 show in Berlin and a subsequent exhibition in Los Angeles in 2018. These shows helped reinforce the artist’s relevance to contemporary European and West Coast audiences, proving that Stella’s influence remained vital decades after his initial ascent to fame.
Paula Cooper Gallery’s connection to the artist, meanwhile, is characterized by both long-standing personal ties and a series of targeted exhibitions. Stella was included in various group shows at the gallery as early as 1975, 1983, and 1999. In recent years, the relationship became more focused; in 2022, his work was featured alongside peers Carl Andre and Lynda Benglis at the gallery’s former Palm Beach outpost. This was followed by a focused three-work exhibition at the New York gallery in 2023, which served as a reminder of the enduring power of his minimalist and post-minimalist contributions.
"Paula had a very long and friendly relationship with Frank," Steve Henry, a senior partner at Paula Cooper Gallery, told ARTnews. "She met him very early on when she came to New York, and he was, of course, very close with artists affiliated with the program—Carl Andre, David Novros, Sol LeWitt, Lynda Benglis—so they were in the same circle."
An Organic Evolution of Representation
Despite the personal warmth and professional admiration that defined their decades-long connection, Paula Cooper never served as the official representative for Frank Stella during his lifetime. This unique positioning makes the current collaboration particularly noteworthy. According to Henry, the partnership was not the result of a formal contract negotiation but rather a natural alignment of goals following the artist’s death.
"It came together in a very organic way," Henry explained. "Upon his death, I think the estate took some time to think about what the next steps would be, and they wanted help. That’s something that Paula and the gallery feel we can do well. We can present the work in a different context."
When pressed on whether this collaboration signals a formal move toward permanent representation of the estate by either gallery, Henry emphasized a preference for flexibility. "We all feel that the relationship can be more organic," he noted, suggesting that both the estate and the galleries are prioritizing a fluid, project-based approach that allows for fresh curatorial perspectives rather than the constraints of a traditional long-term agency agreement.
Redefining a Radical Legacy
Frank Stella’s impact on postwar art is foundational. From his breakthrough "Black Paintings" (1958–59), which effectively signaled the end of Abstract Expressionism’s dominance, to his daring, volumetric "shaped canvases" of the 1960s, Stella consistently challenged the definition of what a painting could be. However, Henry believes there is still substantial ground to cover in how the public perceives his work.
"There is still room to expand upon his notions of radicality, his experimentation with materials and form, and provide a conversation for that in the context of some of his peers," Henry said. "It’s an opportunity to have an exciting kind of exchange with an artist whose work is well known and present it not necessarily in a new way, but a different way."
While the specific checklists for the spring exhibitions are currently being finalized, the galleries intend to present a broad overview of Stella’s career. A primary focus will be placed on the late 1970s and early 1980s—a period of intense creative output characterized by high-relief wall works and increasingly complex, almost architectural, compositions. This era represents a departure from his earlier, flatter geometric investigations and demonstrates his transition into what he often described as "maximalism."
Previewing the Vision at Art Basel Paris
The upcoming presentations at Art Basel Paris offer a microcosm of this curatorial focus. Sprüth Magers will display Tuftonboro III (1966), a seminal piece from Stella’s "Irregular Polygons" series. Priced at $2 million, the work is a prime example of the artist’s early efforts to abandon the traditional rectangular frame in favor of shapes that interact directly with the wall’s architecture.
Simultaneously, Paula Cooper Gallery will present Zabludow III (1973), a $950,000 piece from the "Polish Village" series. This series is perhaps one of the most poignant in Stella’s career; the works were inspired by a book documenting the wooden synagogues of Poland, which were largely destroyed during the Holocaust. The pieces are constructed with layers of wood, felt, and canvas, marking a decisive shift from painting toward a form of wall-based sculpture.
Henry highlights the significance of the "Polish Village" series as a cornerstone of the transition in Stella’s practice. "What Frank did in such an extraordinary way was stretch and expand and present a questioning of the conventions of painting," Henry remarked. "He goes from painting to sculpture in a really dynamic way, and the ‘Polish Village’ series sets that up."
As the art world prepares for these spring exhibitions, the collaboration between Paula Cooper Gallery and Sprüth Magers stands as a testament to the enduring curiosity surrounding Stella’s oeuvre. By focusing on the transitional moments in his career—the points where his work shifted from the rigid confines of the canvas to the expansive possibilities of the three-dimensional object—the galleries aim to remind audiences that Stella’s project was not just about aesthetics, but about a constant, relentless questioning of the medium itself. As the Estate of Frank Stella continues its work, these upcoming shows promise to be a vital chapter in the ongoing history of 20th-century American art.