In the next, he would reject traditional artists' tools in favor of found objects, black tar paper (textured and pebbly and quite iridescent, giving the impression of a midnight sky) or sentimental postcards, eliminating, in a sense, all traces of technique and skill--and even of the artist (some of the "objects" were assembled by carpenters).

FORBES: Miro's Creative Destruction

Last year I wrote this piece for Paper Magazine about the show where the sinewy SLS made quite the impression at Lincoln Center.

FORBES: The View from Mercedes-Benz Fashion Week