Having said that, it is probably best to look at вЂњErotic AbstractionвЂќ with as few preconceived notions as possible. Whether these theories illuminate much about the actual ways in which individual works come into being is debatable, but they are certainly an attempt to establish some ground rules. Since the beginning of the 1970s, with the advent of second-wave feminism and a heightened awareness of the sins of the patriarchy, there has been a great deal of theoretical conjecturing about female artists - that they prefer curves and circles to linear forms, wavy lines to straight ones, sideways allusion to frontal statements. But once one has said that, what else is one saying? (Wilke referred to the female gaze as a вЂњsparkle.вЂќ) To be sure, both SemmelвЂ™s nudes, bathed in shafts of color and possessed of a kind of ungrandiose majesty, and NeelвЂ™s cleareyed yet loving portraits of pregnant women, which depict enlarged breasts and nipples as well as distended bellies, could only have been painted by women. One of the most intriguing questions this show poses, along with the current exhibit of Joan SemmelвЂ™s nude self-portraits at Alexander Gray and the ongoing Alice Neel retrospective at the Metropolitan Museum of Art, is what constitutes erotic art as perceived by the female - as opposed to the infamous and haplessly objectifying male - gaze. Much as one can point to the work of, say, Barbara Hepworth and Louise Bourgeois for patent instances of erotic abstraction - or to contemporaries of Hesse and Wilke, like Lynda Benglis and Carolee Schneemann - the typical viewer is not inherently inclined to attribute sexual content to, say, a structure made of steel tubing and acrylic, or a grid of rubber washers, or ceramic boxlike forms. On the face of it, вЂњErotic Abstraction,вЂќ the name of the powerful show at Acquavella, featuring over 20 works made from 1965 to 1977 - including sculptures, drawings and videos - by Eva Hesse and Hannah Wilke, would seem to be a contradiction in terms. In the 19th century, a glimpse of a womanвЂ™s ankle could send the cad RodolpheвЂ™s heart fluttering in FlaubertвЂ™s вЂњMadame Bovary.вЂќ In the post-1960s, we required stronger stuff, like the blatant, sustained nudity of the two main characters, played by Marlon Brando and Maria Schneider, that marked Bernardo BertolucciвЂ™s groundbreaking вЂњLast Tango in Paris.вЂќ The erotic, or what we think of as the erotic, is a slippery concept, partaking of everything and nothing it can be nebulous and atmospheric or granularly specific, depending on its historical and cultural context.

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