“Hieroglyphs,” Linda Pace Foundation

by Leslie Moody Castro January 24, 2013
Mona Hatoum, There's so much I want to say, 1983; Video installation

Mona Hatoum, So Much I Want to Say (1983) Video installation


Dear San Antonio: Thank you for giving us Linda Pace.

Recently I had the pleasure of visiting the Linda Pace Foundation for the second time. It’s a gem that more people should seek access to, and (cross your fingers) will soon have its own public building. For now, the foundation houses the collection of its founder Linda Pace in her former home and personal gallery.

Installation view

Installation view

Installation view

Installation view

Currently on view is the group exhibition Hieroglyphs, curated by Fairfax Dorn, which takes works from the Linda Pace Foundation collection and explores the seemingly disparate worlds of text and abstraction. At first I thought it was a bit of a stretch, but walking through the exhibition, the work just made sense together. By looking at the formal qualities of the selected work, abstraction began to play a huge role in the exhibition, and indeed, a “tension between the verbal and the visual”1 became apparent.

Gabriel Orozco, Havre Caumartin, 1999; Rubbing on Japanese paper with charcoal

Gabriel Orozco, Havre Caumartin (1999) Rubbing on Japanese paper with charcoal


Installation view, Gabriel Orozco and Leonardo Drew

Installation view, Gabriel Orozco and Leonardo Drew

What we see is the beautifully articulated relationship between text and abstraction and how it is converted into a language system. It’s the system of communication, or lack thereof, that exists within the artistic voice and artistic emotion.

Installation View, Raymond Pettibon, Jenny Holzer

Installation view, Raymond Pettibon and Jenny Holzer

While the exhibition will be on view for just a few more days (until January 25), it’s worth keeping the Linda Pace Foundation on the radar. The Foundation holds some of the most innovative work in the world, and without a doubt reflects the groundbreaking conviction of its founder and her relationship with contemporary art. Anyone passing through San Antonio should schedule a visit here.

Annette Messager, Protection, 1998; Stuffed plush toy parts

Annette Messager, Protection (1998) Stuffed plush toy parts


1. Taken from the curatorial statement that accompanies the exhibition.

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