Leonora Carrington’s Untitled (The White Goddess) is an exemplary work showcasing the complexity of the artist’s unique visual vocabulary informed by her Celtic heritage. Executed circa 1958 in Mexico, the painting is situated within a pivotal period of productivity for Carrington and depicts a white spiritual figure wading in a spring, surrounded by a troupe of animals within a forest setting. Carrington’s polytheistic worldview is fully conceived in this magical realm, exploring the morphing of reality with centuries-old fairytales and folklore.  In true Surrealist fashion, Carrington denies the viewer vital clues on the work’s meaning, instead leaving subtle suggestions and hints.

Seraphim (White, Yellow, and Green), Claudio Bravo’s exquisite oil on canvas, unveils the artist's life-long devotion to mundane materials capable of transforming their shapes through human manipulation. Painted in 1999, the present work exemplifies Bravo’s technical mastery of trompe-l'oeil effects and exudes a marvelous virtuosity unmatched in twentieth-century Latin American paintings.

The Evening Sale of Latin America: Contemporary Art is led by Gego’s Columna Reticulárea—the most seminal work by the artist to have ever been offered at auction. Gego’s Reticulárea series remains one of the greatest exercises of aesthetic freedom and experimentation in 20th century art. Executed in 1969, the exquisitely commanding work is an outstanding preview to the artist’s iconic Reticulárea series.

The hand-crafted, hanging installation supports an artisanal aesthetic that counters the principles of her Constructivist background. The present work encapsulates Gego’s most defiant visual gestures: the erasure of any trace of geometricized parallel lines and her shattering of the modernist grid, proclaiming her avant-garde originality.

Jesús Rafael Soto’s Construcción en Blanco, created in 1974, is a captivating and monumental example of the artist’s highly sought-after kinetic works. Measuring over 2 meters both in height and length, the large-scale installation, comprised of painted wood with entangled nylon cord and metal wires, explores the Venezuelan artist’s exploration of space and movement.

Newly discovered and never-before seen until this May, Joaquín Torres-García’s Sin Título from 1931 boasts distinguished provenance, having once been in the collection of Max Pellequer, the financial advisor to Picasso. Regarded as the founder of Universal Constructivism, Torres-García began experimenting with Constructivism during the latter half of the 1920s while living in Paris, after a serendipitous meeting with Piet Mondrian that would enable the artist to establish his new visual language. The newly discovered picture depicts a symbolic iconography emblematic to Torres-García’s visual vocabulary. An elegant earth-colored palette inspired by the tonalities of pre-Hispanic ceramics, including hints of yellow, blue, red and even a suggestion of pink, highlight the work’s modernist character.