Rufino Tamayo’s Nude in Orange is the model of abstracted modesty. Seated adjacent to an open door with hands folded and fingers interlaced on her lap, the model prominently displays herself—a flat, geometric construction of female anatomy.

Printed in Paris, this seemingly monochromatic lithograph is representative of Rufino Tamayo’s figural abstraction in print. Here the artist’s subtle addition of grays and greens to the face of his sitter creates a sense of depth in a grossly geometric portrayal.

In this lithograph, Rufino Tamayo revisits a theme from his prolific painting career both preceding and during the Revolution. The artist lived out the war years in New York, freeing himself from the Mexican art scene, which was dominated by muralists such as Diego Rivera, David Alfaro Siqueiros, and José Clemente Orozco.

Printed during a stint in Paris, this chromolithograph reflects Rufino Tamayo’s commitment to abstraction and effort to distance himself—both physically and ideologically—from his Mexican contemporaries. Tamayo’s steely nude stands erect and squarely in the center of a nondescript yet colorful domestic interior.

By the 1960s, Rufino Tamayo had established himself as one of Mexico’s most celebrated painters and printmakers. In this chromolithograph, Tamayo abstracts the figure of a young girl standing in the opening of a door. Her veiled head and neck—otherwise obscured by darkness—take the shape of a keyhole, marrying her form to the door she stands beside.

Maria Kipp, one of America's foremost textile designers, produced hand-woven fabrics for drapery and upholstery during the mid-20th century.

In this work—one of Rufino Tamayo’s larger lithographs—an abstracted figure stands at the center of a speckled orange background. Tamayo’s title indicates that the figure is a man; however, his facial features and limbs are difficult to decipher due to the dark, heavy application of ink to his form.