Judith Godwin was a leading figure of the New York School, yet her art did not receive the attention that came to work by male peers such as Willem de Kooning and Mark Rothko. Godwin studied under the German painter Hans Hofmann, and was close friends with Martha Graham, the revolutionary modern dancer and choreographer. Blending the influence of both, Godwin brought the percussive muscle of Graham dancing to paintings of gestural power and physicality. This exhibition at Berry Campbell traces Godwin’s stylistic shifts, beginning with her focus, in the 1970s, on architecture and the natural world, and moving on to sensuality and the human form in the 1980s and 90s. —Maggie Turner