Soto: Vibrations 1950–1960

Published on the occasion of the exhibition Soto: Vibrations 1950–1960 at Hauser & Wirth New York, this catalogue explores a pivotal decade in Jesús Rafael Soto’s artistic evolution. Focusing on his early years in Paris, it captures his shift from geometric abstraction to optical art and, eventually, kinetic experimentation.

Richly illustrated, the publication traces Soto’s development from his early Composition dynamiques to his layered Plexiglas works of 1954–58 and the wire forms set against painted backgrounds in the late 1950s. An accompanying essay by curator Jean-Paul Ameline offers insight into Soto’s influences, his contemporaries, and the historical context, drawing from archival material to map the emergence of a singular voice in postwar art.