Jean (Hans) Arp, Alexander Calder, Giorgio de Chirico, Hans Erni, Max Ernst, Justino Fernández, Alberto Giacometti, Julio González, Nikos Hadjikyriakos-Ghika, Jean Hélion, Vasily Kandinsky, Fernand Léger, Jacques Lipchitz, Alberto Magnelli, Joan Miró, Ben Nicholson, Amédée Ozenfant, Pablo Picasso, Kurt Seligmann, Sophie Taeuber-Arp, Joaquín Torres-García, Gérard Vulliamy, Ossip Zadkine, Various Artists

Joan Miró’s painting The Hunter (Catalan Landscape) brings together the real and the imaginary, abstraction and figuration, and image and text in a way that would characterize much of his work to come.

Alexander Calder conceived of sculpture as an experiment in space and motion. Ranging from delicate, intimate, figurative objects in wood and wire, to hanging sculptures that move, to monumentally scaled abstract works in steel and aluminum, Calder’s art suggests the elemental systems that animate life itself.

A key member of first Dada and then Surrealism in Europe in the 1910s and 1920s, Max Ernst used a variety of mediums—painting, collage, printmaking, sculpture, and various unconventional drawing methods—to give visual form to both personal memory and collective myth.

Vasily Kandinsky posed this question in December 1911, in Concerning the Spiritual in Art , a text that laid out his argument for abstraction.

To live in the world as in an immense museum of strange things.” So wrote the Italian artist Giorgio de Chirico, who made paintings of classical piazzas populated with spectral figures and shadows, knitting together purposefully distorted perspectives and tilted grounds.

In the winter of 1947, Alberto Giacometti wrote a letter to Pierre Matisse, a gallerist in New York who was organizing an exhibition of his works.