For over five decades, Lynda Benglis has made art that defies aesthetic orthodoxies. In her ceaselessly innovative engagements with new materials, distinctions between paint-ing and sculpture, soft and hard, organic and artificial, high and low, and male and female are complicated or upended entirely. Through her exchanges with her materials, Benglis allows in the sights, textures, and colours of her life, experi-ence and landscape. Benglis is best known for her early work as an artist who carne of age amidst Post-Minimalism and Process Art. The 'frozen gestures' of her intensely coloured, floor bound latex paintings and installations of cantilevered polyurethane-foam pours established her ongoing interest in colour, flow, transformation and proprioception as well as her desire to work with untraditional materials. Benglis has also been celebrateti for her pioneering work in video in the 1970s as well as her 1974 advertisements in the pages of Artforum, which challenged assumptions about self-presentation and gender in the art world. Benglis has centered her practice on creating objects that relate to the scale and feeling of the body in space and which often play on the tension between forra and surface. Her formai concerne are infuseti with a love of pleasure, play, and a tendency to thumb her nose at received ideas of taste and propriety. In spite of the wide range of materials she has worked with, continuities and progressione persist. The arrested streams of her first foam pours develop into her first fountain in 1984, which uses water to further attivate the forra. The visceral convolutions of her 1970s sparkle knots unravel in her recent paper pieces to reveal airy skeletons of chicken wire. The gestural wrestling in the ceramics of the 1990s and 2010s gives way to her latest whiplash planes of gleaming bronze. Throughout, Benglis offers the viewer an open-ended challenge to what art can be and a seductive invitation to experience it.