In 1906 the Swedish artist Hilma af Klint commenced on a series of biomorphic paintings and drawings that she destined to be housed in a spiralling building that she called the temple of spirit. One hundred and two years later the output of this effort is currently gracing the corkscrew ramp of the Guggenheim Museum. The ten large paintings that occupy the first gallery are magnificent. Matissian color schema and free-spirited forms of such exquisite beauty and energy feel as if the works were painted yesterday. Af Klint was a follower of theosophy and regularly communed with spirits that guided her work. Nevertheless, she adopted a decidedly scientific and ordered approach. Af Klint worked in series and her primordial imaging is driven by religion, nature and science through the implementation of diagramic compositions using an incredibly complex color coding system. The spiral, often in the form of snails, is a recurring symbol. It speaks of evolution, energy and change – a life-long mission that aimed to coax order out of chaos. In 1932, after several attempts at wider recognition ended in failure, Af Klint realized that her work would be better understood by future generations and decided to destroy a majority of her output. She decreed that her remaining paintings, drawings and over 20,000 pages of writing should not be displayed until 20 years after her death… Hilma af Klint had no followers and did not follow anyone. Yet her determination to capture the unseen world by obeying intuition and her devoted embrace of spirituality is a magnanimous gift that she bequeathed to the world. At the Guggenheim Museum through April 23.