In an interview with OCULA magazine from October 2014, Heinz Mack, recalls how in the 1950s he sought out the studio of Brâncusi in Paris: “When I got there, the door wasn’t really closed, and for me, it felt like discovering Tutankhamun’s tomb, standing absolutely alone in this huge studio as Brâncuşi had left it before he died. It was dusty and dirty, but everything was in its complete original state. I was so impressed. This is when I started making the move towards being more of a sculptor than a painter.” Although Mack never completely abandoned painting, the experience propelled the artist on a life-long path toward experimentation with color and light as it relates to space and movement. Within the context of the ZERO group, which Mack co-founded with Otto Piene, Mack became a sponge for new ideas. He soaked up kinetic theory from artists like Jean Tinguely and Lucio Fontana and evolved the concept of the immateriality of color pioneered by Yves Klein. A fine, museum-like show of Mack’s work from 1955 until today at Sperone Westwater shows the extraordinary range and complexity of his practice. Through March 25.