Guggenheim

In his late works, Dubuffet often used a web of gestural lines to convey the more abstract aspects of thought. With his Sights series, he made these colorful tangles his primary subject, as he explored what experience would be like if the mind did not sort the outside world into preconceived, socially defined categories. Dubuffet said, “These paintings . . . should be seen as practice for an apprenticeship in a new form of vision: a vision that has been freed from the specious nomenclature with which humanism claimed to analyze and list the mobile chaos of the universe.” Though Sight G 132 (Kowloon) seems devoid of recognizable figures, upon closer examination, multiple passages suggest faces.