At the age of 92, Stempfel is vigorously prolific and no less innovative than in the past. The TMH installation finds resonance in the works’ relational plays—art/artist, artist/viewer, art/viewer—and uses the layout of the gallery to highlight their novel take on abstraction. In the front gallery, a group of humorous and self-referential paintings-sculptures take up all available space and use it as material; in the historical back space four curvilinear tableaus (two-dimensional or three-dimensional or both?) and several wall-defying sequences vie with the curvaceous Flora of the 18^th-century ceiling painting. Throughout the space, a myriad of newer and older objects and object-like works on paper complete the picture of an inexhaustible play on the simplest of means. The large number of works in the show actually echoes Stempfel’s very first solo show in Grenoble in 1968.

In the words of the art writer Hubert Besacier, who has followed the practice of Stempfel for many years: “Lightness and playfulness remain the main characteristics of this work, proving that humor can thrive everywhere, even on the most minimalist of terrains… Not taking painting seriously means devoting yourself fully to it with all the necessary care, rigor and precision.” There is great conceptual depth and energy to these constructions. The reference to traditions is clear—yes, it is painting, sculpture, and drawing in concrete terms. But Stempfel has complicated the effect and possible meanings of geometric art (and of geometry tout court) and leaves it to us to categorize his venture.

The exhibition is organized by Marsha Plotnitsky, Founder of TMH, in collaboration with the artist and the art writer Hubert Besacier.