Sanin, Fanny

Sanín’s early production was characterized by an abstract and lyrical sensibility, often imbued with expressionist undertones. Over time, she transitioned toward a refined visual language rooted in geometric abstraction, developing a disciplined and highly personal poetics of color. Her paintings are distinguished by their rigorous organization of chromatic spaces, as well as by a precise articulation of balance between planes and lines. Through these formal strategies, Sanín has cultivated a body of work that is both mathematically rigorous and spiritually resonant, positioning her as one of the most significant abstract artists of her generation.

Throughout her career, Sanín has presented numerous solo exhibitions across the Americas and Europe. Highlights include early shows at the Modern Art Gallery in Monterrey (1964), Museo de Arte Moderno in Bogotá (1965), and Museo de Arte Contemporáneo de Caracas Sofía Imber (1967), as well as later exhibitions at the Panamerican Union Gallery in Washington, DC (1969), Museo de Arte Moderno in Mexico City (1979), Schiller-Wapner Gallery in New York (1986), Greater Lafayette Museum of Art in Indiana (1990), National Arts Club in New York (2003), and Frederico Seve Gallery in New York (2013). Her works are held in major collections and institutions worldwide, including the Bibliothèque Nationale (Paris), Museum of Art of the Americas (Washington, DC), Minnesota Museum of Art (St. Paul), Museo de Arte Moderno (Bogotá), Museo de Arte Moderno (Mexico City), and the Chemical Bank Collection (New York). Her work also featured in the 2022 Aichi Triennale in Japan and a solo survey Fanny Sanín: Geometric Equations at the Americas Society in New York in 2025, which included large canvases, drawings and pencil studies tracing her evolution as a color-structural painter. Recently after her exhibition at Americas Society the Museum of Modern Art in New York acquired two of her early works. She lives and works in New York.