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The newest series of pure abstract paintings by Fenichel features a reductive palette of predominantly black paint on a white support with a rare stroke or two of subtle color—a bit of amber, purple, dilute red or neutralized green. The compositions are asymmetric with the black emerging from a corner or one side or the other like a wave of black pigment onto the scene, forever disrupting the serenity of the pure white support. Yet, the reductive compositions are calm and provide solitude as the viewer studies the work and makes a personal interpretation. This work is more gestural and less graphic than her earlier series with the same materials, the edges are broken and diffuse with the black pigment fading to white, conveying movement and rhythm. Lilly Fenichel completed her undergraduate work at Chouinard Art Institute in Los Angeles and later studied with Hassel Smith at the California School of Fine Art—currently the San Francisco Art Institute. She then worked in Los Angeles before moving to New Mexico to join the group of Taos Moderns, which included her close friends Beatrice Mandelman, Oli Sihvonen and Agnes Martin. Fenichel has had numerous solo and group exhibitions during her six decade career. A recipient of three International Pollock-Krasner Grants and numerous other awards, her artwork is in the permanent collections of the Harwood Museum, Albuquerque Museum and U. of New Mexico Art Museum along with numerous private and public collections.