Romanian artist Geta Bratescu's late work and their explorations of gender and identity are paired with excerpts from the artist's diaries, revealing drawing as not only a form of expression for Bratescu but also a source of innate joy.

Exploring themes of bodiliness, self and family in mediums such as paper, video and photography for more than 40 years, Romanian artist Geta Bratescu (1926–2018) has recently been the subject of much critical attention in the US and in Europe, representing Romania at the 2017 Venice Biennale and being the subject of recent features in the New York Times and the Brooklyn Rail.

Game of Forms focuses on Bratescu's dynamic late work, which is reproduced alongside a selection of her diaries from 2008 through 2011, that reflects on her work and the work of other artists. She writes, “more than ever I embrace the infinite spaces of the spirit with so much joy, when even my body has youthful upsurges; an ideal Eros animates it, it rustles to the touch of the wing with which the hypothetical angel causes the strings of the imagination to vibrate. I am mad.”