Held on the site of the historical Pierre Matisse Gallery (1931–89), where Miró made his North American debut in 1932, the exhibition will dive into the most formative and experimental decade in the artist’s career. Miró’s unique exploration of painting, drawing, collage and writing during this moment in time would define his unique visual vocabulary and his ground-breaking regard to painting and poetry alike.

The exhibition is held on the occasion of the fiftieth anniversary of Miró’s seminal retrospective Joan Miró: Magnetic Fields, which was organised by Rosalind Krauss and Margit Rowell at the Solomon R. Guggenheim Museum, New York, in 1972. In an attempt to rethink Miró’s legacy in art of the last century, the show at Luxembourg + Co. follows a new scholarly proposition outlined by Professor Robertson, who suggests that the key to Miró’s work of the 1920s begins with his fascination with ground – both as a subject that connects to his Catalan roots (the brown soil represented so often in his paintings from this period) and as a technical interest in constructing the background of his pictorial universe. The exhibition, alongside Robertson’s argument, then continues to explore the formal language developed by Miró during the 1920s and early 1930s and the emergence of his unique symbolic vocabulary, encompassing numbers, letters and a whole range of idiosyncratic signs.