Helen Frankenthaler (American, 1928-2011)<br />
Air Frame from the New York Ten suite, 1965. Screenprint, 22 x 17 inches. Gift of Mark and Cindy Galant, 2026.02.01d<br />

Helen Frankenthaler (American, 1928-2011), ‘Air Frame’ from the New York Ten suite, 1965. Screenprint, 22 x 17 inches. Gift of Mark and Cindy Galant, 2026.02.01d

Posted October 28, 2026

The New York Ten is a portfolio of ten prints published in 1965 by Tanglewood Press, a highly regarded fine art publisher active from 1964 to 1991 whose editions include works by many of the 20th century’s most influential artists. The portfolio is held in the permanent collections of both the Metropolitan Museum of Art and the Museum of Modern Art, and now, thanks to the generosity of Mark and Cindy Galant, the Vero Beach Museum of Art holds a complete set of prints.

Spanning figuration and abstraction, the portfolio captures the dynamic visual language that defined American art in the mid-1960s. Vivid color, graphic precision, and experimental compositions reflect the vitality of an era shaped by Pop art, Op art, and post-painterly abstraction. Collectively, these works embody New York City’s emergence as the artistic capital of the United States during this pivotal decade.

As a complete portfolio, the New York Ten evokes the collaborative spirit of 1960s print publishing. Individual prints may also be exhibited in thematic installations throughout the new Vero Beach Museum of Art, offering rich curatorial possibilities within our newly expanded galleries. 

We’re highlighting Helen Frankenthaler’s print, Air Frame. Best known as a pioneering Color Field painter. Frankenthaler also brought her exploration of color and process to printmaking. In Air Frame, passages of green and yellow are loosely framed by white against a blue background, demonstrating how her painterly sensibility translated into the print medium. Her approach finds a compelling contemporary resonance in Jill Nathanson: Chromatic Phrases, currently on view at the Museum. Like Frankenthaler, Nathanson embraces the fluidity of paint, allowing pigment to pool, flow, and settle across her gessoed wood panels to create compositions in which color itself drives the visual experience.

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