Published on the occasion of the eponymous exhibition at Hauser & Wirth New York, ‘Soto: Vibrations 1950–1960’ focuses on the first decade of the Soto’s life in Paris: a watershed period of his practice marking the transition from geometric abstraction to optical art and eventually kineticism. The extensively illustrated catalog traces these developments from Soto’s early geometric Composition dynamiques, to the layered Plexiglas work of 1954–58, and finally to his experimentation with wire forms over painted backgrounds in the late 1950s. Exhibition curator Jean-Paul Ameline has contributed an essay that examines Soto’s creative trajectory during these early years, considering the artist’s various influences and contemporaries alongside archival materials from that time.

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