A unique presence in the postwar American artistic vanguard, Tony Smith is primarily known for his large, abstract sculptures, which he made during the last twenty years of his life. It is lesser known that he was also an architect and a painter—a true Renaissance man. At its core, Smith’s geometric abstraction is about grasping an underlying universal structure and exploring both biomorphic and geometric form as essence. In paintings such as Untitled (Louisenberg) Smith’s shapes push against the constraints of the picture plane, creating an asymmetrical geometric structure that suggests an ordered imbalance or a stable instability.