Frieze has weighed in on one of the autumn's most scrutinised exhibitions, publishing a review on 8 October of 'Krasner and Pollock: Past Continuous' at the Metropolitan Museum of Art in New York. The verdict is strikingly positive: the latest in a run of blockbuster husband-and-wife exhibitions, the review argues, ultimately makes a case for seeing Krasner's work on its own terms. The reviewer admits to arriving with low expectations, worried the show would fixate on the couple's biography — the domestic life of a husband and wife at their Springs, Long Island home — at the expense of the art. Instead, the exhibition turns out to be all about the paintings, with more than 120 works displayed across twelve rooms, many of them, in the reviewer's words, breathtaking. Krasner's work sets the tone from the start. The show opens with six large collages from the early to mid-1950s, including Bald Eagle and Porcelain, both from 1955, in which she cut up her own older paintings into new creations and incorporated some of Pollock's discarded drawings. The exhibition's title is taken from a 1976 Krasner painting, and her presence leads the hang. The review also reckons with the familiar framing that has dogged Krasner's reputation: her crucial role in advancing Pollock's career, managing the practicalities of his professional life and coping with the fallout of his alcoholism, alongside the unfair typecasting that reduced her to 'Mrs Jackson Pollock'. Curators David Breslin and Brinda Kumar, the piece suggests, have built a survey that lets her perpetual reinvention — collage giving way to vast, shattering compositions — answer that reductive label on its own terms.