Imust admit that until I visited the exhibition “Suzy Frelinghuysen and George L. K. Morris, American Abstract Artists,” I had seen relatively little work by either of the husband and wife team who are the show’s protagonists.1 Morris (1905-75), I knew, was one of those affluent, sophisticated, well-traveled Americans—like his contemporary Lincoln Kirstein—who served as missionaries for Modernism at a time when most of their countrymen were wondering whether that newfangled European stuff really was art at all. I knew, too, that like Kirstein, Morris was an admirer of Gaston Lachaise and—again like Kirstein—had his portrait done by the expatriate French sculptor. (Even more impressive, Morris owned Lachaise’s monumental...


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