PENING AT Tate Modern in late April, “Hilma af Klint & Piet Mondrian: Forms of Life” builds on recent critical and scholarly interest in the work of Swedish-born mystic painter Hilma af Klint, while the exhibition considers af Klint’s work alongside that of Mondrian (the Dutch artist long recognized for his modernist innovations) and highlights their shared engagement with abstraction. While a major exhibition in 2018/2019 at the Guggenheim, , served to expand the body of available scholarship on the artist and to usher in new widespread appreciation for af Klint’s work, the Tate’s new offering provides an opportunity, at last, to examine her work not as the production of a mystical outsider, but rather as a means
