LAWRENCE RINDER, Director and Chief Curator, University of California Berkeley Art Museum and Pacific Film Archive, Berkeley, California

Although interest in abstraction is undergoing a resurgence, many highly deserving artists still haven’t enjoyed adequate attention, including Frederick Hammersley, whose work runs the gamut from haunting portraiture and hard-edge abstraction to algorithmic computer-generated compositions; Fanny Sanín, a senior Colombian painter of subtle color geometries; Irwin Kremen, a Black Mountain College–schooled maker of exquisite small collages of found paper fragments; Ralph Coburn, who married concrete abstraction with participatory aesthetics years before others like Hélio Oiticica began exploring this fertile terrain; Rosie Lee Tompkins, whose quilts capture the essential hum and pulse of being; Frederick Kiesler, a visionary 20th-century architect and artist whose “galaxies”—multipart irregularly shaped canvases of the 1940s and ’50s—anticipate by many decades later experiments in “deconstructive” painting; Nathaniel Dorsky, a San Francisco–based filmmaker who deserves to be considered one of the greatest abstract artists of our time; Charles Howard, who bridged biomorphism and Precisionism to create strange, jewel-like paintings; and Todd Bura, a young artist whose paintings somehow manage to break new ground in the exploration of painterly form.