“Isms and other classifications are misleading,” the Hungarian artist Hedda Sterne once said. Sidestepping categorization, her work blends European Modernism—which influenced her before she fled to the U.S. in 1941—with American Abstract Expressionism. As a member of the New York school, Sterne was singular, and not just aesthetically. In a famous Life magazine photograph from 1951, she is the sole woman in a demonstration protesting the Met Musem’s failure to include abstract pieces in its exhibition of American art. Focusing on Sterne’s work during the mid 60s, when she was in Venice, this exhibition highlights an unusual period—minimalist yet romantic—in the career arc of an unusual artist. —C.J.F.