The remarkable exhibition The Magical City: George Morrison’s New York at the Metropolitan Museum of Art challenges traditional perceptions of the key players in Abstract Expressionism. This show brings to light Morrison (Grand Portage Band of Lake Superior Chippewa), an artist whose ethnicity has contributed to his long-standing obscurity in the mainstream art narrative. Born in Chippewa City, Minnesota, in 1919 among 12 siblings, he discovered his passion for drawing early, a pursuit that helped him cope during lengthy recoveries from surgeries that left him in a full body cast for significant periods during his childhood.
Endowed with the Ethel Morrison Van Derlip Traveling Scholarship in the early 1940s, he moved to New York to hone his craft at the Art Students League from 1943 to 1946 — a time when the city was bustling with displaced artists. Morrison eventually aligned himself with the Abstract Expressionist movement. After leaving New York in 1947, he taught in Massachusetts and then traveled to Paris on a Fulbright scholarship in 1952 before making a brief stop in Duluth, Minnesota. He returned to New York in 1954, reestablishing connections with many Abstract Expressionists, including Willem de Kooning and Jackson Pollock. By this point, Morrison’s artistry had evolved, displaying maturity that resonated with Clyfford Still and Philip Guston yet remained distinctly his own.
The Magical City, curated by Patricia Marroquin Norby (P’urhépecha), the associate curator of Native American Art in The Met’s American Wing, features paintings, works on paper, and various ephemera. Among these are announcements for a 1954–55 group show at the Tanager Gallery, an influential artist-run co-op established by Lois Dodd, Charles Cajori, Angelo Ippolito, William King, and Fred Mitchell, as well as catalogs from the 1947 and 1956 Whitney Annuals, which all confirm Morrison’s active role in the burgeoning New York art scene. The extent of Morrison’s involvement in this context fascinated me; it was clear why his works from the 1950s garnered respect from his peers. Yet, it was disheartening to see how rapidly he faded into obscurity after the emergence of Pop Art and Minimalism, along with the critical narratives that fostered the notion that art must consistently evolve.
Although Morrison was just one of many artists overshadowed by the shifting artistic trends of the time, his absence in dominant art histories left a lingering bitterness. He is not alone among artists of color associated with Abstract Expressionism who are frequently omitted from mainstream discussions. A museum initiative showcasing the works of Norman Lewis, Matsumi “Mike” Kanemitsu, Ed Clark, and others linked to Abstract Expressionism could significantly address these historical gaps.
Six particular paintings in The Magical City, created from 1953 to 1958, captivated my attention. Emerging alongside what influential art critic Clement Greenberg deemed the decline of Abstract Expressionism, where Color Field painting began to gain traction, these six works showcase a richly textured impasto surface that distinguishes Morrison from his New York peers, many of whom exploited paint’s liquid qualities through pouring (like Pollock and Helen Frankenthaler) or thin washes that masked their applications (such as Ad Reinhardt and Mark Rothko).
The titles of two standout pieces, “The Red Sky” (1955) and “Aureate Vertical” (1958), highlight Morrison’s deep connection to the Minnesota landscape of his youth. Their intricate surfaces, tonal variations, and the geometric interplay in “The Red Sky” reflect influences reminiscent of Ojibwe crafts. Just as Lewis reframed Abstract Expressionism to reflect a Black perspective, Morrison articulated an Indigenous experience.
In “Aureate Vertical,” the delicate shifts in tone draw viewers in and encourage contemplation. Yet, the serenity is punctured by streaks of red and hints of blue amidst the dominant yellows and tans. Similarly, in “The Red Sky,” interlocking forms in gray, murky white, and reddish-orange create a sense of tension, as if they are bearing the weight of the sky or being compressed by it.
I found it remarkable that Morrison’s paintings from the 1950s were distinctly identifiable as his own. In this regard, they hold their own amongst the Abstract Expressionists renowned for their signature mark, from Adolph Gottlieb to Barnett Newman, despite Morrison not having a set motif. Through his artistry, he radiates both confidence and a persistent quest for innovative color and form combinations. Even as I gleaned insights from this compact and elegantly presented exhibition, my curiosity about the artist deepened. This is the fundamental role a museum exhibition should fulfill: igniting a hunger for more.
The Magical City: George Morrison’s New York is on view at the Metropolitan Museum of Art (1000 Fifth Avenue, Manhattan) until May 31, 2026. The exhibition was curated by Patricia Marroquin Norby.
