Hedda Sterne, the lone woman standing in the back row in the iconic Life Magazine photograph “Irascibles” (1951) depicting eighteen high-calibre New York School artists, described the experience as “probably the worst thing that happened to me”. Sterne who was in the photograph only at the insistence of Betty Parsons, her dealer, recalls in an interview with Phillis Tuchman in 1981, that “They [the men] all were very furious that I was in it because they all were sufficiently macho to think that the presence of a woman took away from the seriousness of it all.” And so began a decades-long institutional and critical neglect of major Abstract-Expressionist-era women that included Lee Krasner, Elaine de Kooning, Joan Mitchell, and Helen Frankenthaler, which only now is being corrected. Hedda Sterne: Structures and Landscapes, 1950 – 1968 at Van Doren Waxter is looking at an extraordinary prolific and creative moment in Sterne’s career, that was bracketed by Surrealism, figuration, text and geometric repetition, and which yielded some of her most seductive compositions. Major breakthroughs during that time period include her abstract/figurative paintings around motion, machines and architecture and her iconic “Vertical Horizontal” paintings which depict multiple horizons on vertical canvases. Throughout her multi-faceted lifework, Hedda Sterne worked with the utmost urgency and with the conviction that progress is never linear. Her contribution to the process of painting, her ability to balance structure and turmoil with a limited color palette, and her signature austere weightiness whilst defying stylistic categorization, is overlooked no more. At Van Doren Waxter through December 22.