What would it mean to treat an interval of space as a line, thus drawing an empty void into a constellation of art and meaning-laden things? In this book, Irene Small elucidates the signal discovery of the Brazilian artist Lygia Clark in 1954: a fissure of space between material elements that Clark called “the organic line.”
For much of the history of art, Clark’s discovery, much like the organic line, has escaped legibility.
Once recognized, however, the line has seismic repercussions for rethinking foundational concepts such as mark, limit, surface, and edge.
