Herrera's work has remained uncompromisingly abstract and minimal throughout her career - although the hard-edge, rectilinear qualities of her paintings are, on closer inspection, belied by their obviously hand-painted expanses of color. This show of recent work also exemplifies Herrera's mastery of larger scale canvases, including subtle incorporations of diptych and triptych configurations. In an essay written for this catalogue which accompanies the Lisson, New York exhibition (featuring photographs of Herrera's New York studio and home), the American curator and critic Robert Storr states: 'In Alpes (2015) Herrera sets up what promises to be a pattern of green and white triangles alternating like clenched teeth but leaves out the last green 'tooth' so that the whole sequence dissolves into an open expanse of white that is barely contained by the outer edge of the diptych.' Published on the occasion of Carmen Herrera's show at Lisson Gallery, New York, 3 May - 25 June 2016.