Ortuzar in New York is showing the work of Claire Falkenstein from September 10 through October 31, 2026, an exhibition that tracks the artist's movement between San Francisco, Paris and Rome and her command of unlikely material pairings — above all, forged iron and Murano glass. Falkenstein's best-known commissions are the gates she made for Peggy Guggenheim's palazzo in Venice, ironwork threaded with glass that turned a functional barrier into a shimmering screen. The exhibition includes related sculpture as well as works from her 'Suns' series, radiant circular forms that compress her interest in structure and light into a single emblematic shape. Made across decades in dialogue with the glassblowers of Murano, they glow with an almost solar confidence — emblems of an artist at full power. The show arrives as part of a broader reassessment of an artist who was effectively written out of the story she helped create. Active in the male-dominated Ferus-era Los Angeles scene, Falkenstein was marginalized even as her experiments with industrial materials and fused glass pointed the way for the generation that followed — Eva Hesse among them. The Ortuzar exhibition hangs her work alongside that of Ruth Asawa, another artist whose wire and metal innovations were long undervalued. Taken together, the presentation argues that Falkenstein's erasure was a failure of the narrative, not of the work. Her iron-and-glass constructions remain startlingly contemporary: tough and delicate at once, architectural in scale yet intimate in detail, they suggest an artist who understood, decades early, that sculpture could be both barrier and window.