Abstract
The interior models made by Polish artist Henryk Stażewski circa 1976 are an entryway to exploring the geopolitics of vision in the 1960s and 1970s. Locating the models’ function at the intersection of art, psychiatry, and color theory reveals analogies between their formal qualities and a selection of theories that emphasised the role of subjective, embodied perception. Through studying how the artist’s understanding of both individual and social functions of vision evolved during the postwar period, I challenge dominant interpretations of Stażewski’s late work as a mere continuation of his earlier Constructivist interests, complicating our understanding of the historical avant-garde’s legacy.
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