Published on March 26, 2026
Thaddaeus Ropac has announced the representation of the estate of American painter Martha Diamond, who passed away in 2023 at the age of 79. Ropac will collaborate with the Martha Diamond Trust, as well as the David Kordansky Gallery, in promoting her artistic legacy.
This development precedes the first major European exhibition of Diamond’s work, scheduled to open at the Sara Hildén Museum in Tampere, Finland, this September. Ropac’s initial presentation of Diamond’s artwork will be showcased at their Paris gallery in 2027.
“Martha Diamond’s work embodies the experimental spirit of the New York avant-garde in which she was immersed,” commented gallerist Thaddaeus Ropac in a press statement. “Her meticulous attention to material, gesture, and the possibilities of the brushstroke converge as a force of universal and historical resonance, while still so of the moment and so fresh. At the heart of her practice are questions about the act of artmaking itself.”
Primarily focused on painting, Diamond is best known for her sweeping abstractions of the New York City skyline. Captivated , she utilized thick, frenetic brushstrokes to depict the contours of the city’s architecture, employing vibrant colors and diverse textures. A prominent figure in the New York School and the downtown poetry scene alongside contemporaries like John Giorno and Peter Schjeldahl, she drew inspiration from luminaries such as Joan Mitchell, Jackson Pollock, and Franz Kline.
Her solo exhibitions have included venues like The Aldrich Contemporary Art Museum in Ridgefield, Connecticut, David Kordansky Gallery, and Magenta Plains in New York. Diamond’s work has also been featured in group exhibitions at Anton Kern Gallery, Karma, and the Whitney Museum’s 1984 “MetaManhattan” show, as well as its 1989 Biennial. Her art is represented in esteemed collections at the Museum of Modern Art, the Brooklyn Museum, and the Guggenheim Museum, among others.
“What Frank Auerbach did for Camden Town, and Monet did for Paris, and De Chirico did for piazzas all over Italy, Diamond did for Manhattan,” wrote Jonathan Griffin in the New York Times in 2024. “None of these artists were bothered with assiduous documentation of the built environment so much as with conveying how it felt to them.”
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