Abstract
This article looks at the ways in which the grid has been presented as both a symbol of modernist structure, most famously in art historian Rosalind Krauss’s 1979 essay “Grids,” and a metaphor for the craft of weaving, by artist-theorists such as Anni Albers. This dual interpretation of the grid is discussed in relation to three of the contemporary artists in the exhibition “Pathmakers: Women in Art, Craft and Design, Midcentury and Today” at the Museum of Arts and Design, New York—Polly Apfelbaum, Michelle Grabner, and Gabriel A. Maher. In their use of the grid as an organizing structure, all three explore, directly and indirectly, ideas related to gender.
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