A lot has been written about Marisol Escobar, often focusing as much on her legendary eccentricities as on her art. In his recent memoir, Irving Sandler recalls her participating in a panel at The Club in the early 1960s, wearing a white mask; she was infamously known for “her silences and one-word responses to any questions.” Her exotic beauty has often been praised, and in an essay from 1993, Albert Boime describes her early reputation as that of a “Latin Garbo.” Since her arrival in New York in 1950, a partially self-initiated air of mystique has enveloped her. She is happiest in the solitude of her Tribeca studio. Yet her work has traveled beyond her private realm: today, she is considered one of the key figures of 20th-century art. Like Louise Bourgeois, she has enjoyed a career long and profound enough to inspire entire generations of artists.
