The Clark Art Institute in Williamstown, Massachusetts, is hosting a survey of Giorgio Griffa spanning roughly six decades of work, on view from June 13 through October 12, 2026. Curated by Robert Wiesenberger, the exhibition traces the Italian artist's singular path through postwar abstraction — one he pursued while maintaining a parallel career as a lawyer until 2001. Griffa's method is famously restrained. He works on unstretched canvas, often pinning it to the wall at the top edge so it hangs freely, and applies paint in repeated, pared-down gestures: lines, numerals, and washes that record the movement of the hand rather than illustrate anything. Works such as 'Rosa' (1968) and 'Obliquo' (1976) show how little he needs — a tilted band of color, a sequence of marks — to generate a sense of rhythm and duration. The artist has described his guiding principle as one of non-domination: the painter should not impose on the material but collaborate with it, letting the weave of the canvas, the behavior of the pigment and the pull of gravity finish the composition. It is a philosophy with roots in Arte Povera-era Turin, but Griffa's version is quieter and more procedural, closer to a musical score than a manifesto. The Clark survey argues for Griffa as one of the most consistent — and consistently overlooked — practitioners of European abstraction. Across sixty years, the vocabulary barely changes, yet the paintings never feel like repetitions. Each is a record of a specific encounter between hand, brush and cloth, and the exhibition makes the case that this modesty of means is precisely the point: a lifetime spent proving how much can happen when an artist refuses to dominate the surface.