The Hilma af Klint Foundation, which safeguards the legacy of the pioneering Swedish abstract artist, is embroiled in a contentious debate over a proposed agreement with David Zwirner, one of the world’s leading gallerists. The foundation, responsible for the preservation and promotion of af Klint’s work, faces internal discord regarding the commercialization of the artist’s oeuvre, particularly her renowned series, Paintings for the Temple (1906–15).

The foundation’s statutes explicitly prohibit the sale of the 193 works in Paintings for the Temple, while allowing for the sale of other pieces to fund the preservation of the core collection. However, the proposed deal with Zwirner would enable further commercialization of af Klint’s works, a move strongly opposed by members of the artist’s family. Erik af Klint, the artist’s great-grandnephew and chair of the foundation’s board, has described the deal as “a hostile takeover,” accusing the board majority of violating their duty to “care” for the artist’s legacy.

This internal conflict is not new. The foundation has faced legal battles and accusations of exploiting af Klint’s growing global fame since its establishment nearly 30 years ago. The ongoing disputes underscore broader tensions between honoring the artist’s spiritual and philosophical intentions and leveraging her work’s market value.

David Zwirner, who has proposed managing the foundation’s sales and exhibitions, argues that his involvement would serve the foundation’s best interests. “Proceeds from sales would be reinvested into preserving the 1,300 works under the foundation’s care in Sweden,” Zwirner stated, adding that his gallery plans to organize a solo exhibition of af Klint’s works and publish research to further her legacy.

Despite Zwirner’s assurances, Erik af Klint, supported by other family members, insists that the artist’s works, particularly those imbued with spiritual significance, must remain intact and accessible to the public rather than fragmented through private sales. Most of af Klint’s works remain under the foundation’s care, avoiding the dispersion seen with many other artists’ estates.

A spokesperson for the foundation expressed disappointment over leaks of confidential discussions, which they claim damage the foundation’s reputation. However, they did not deny ongoing negotiations with Zwirner. While a previous attempt to finalize the agreement reportedly fell through, discussions remain “advanced,” according to a representative for Zwirner’s gallery.

Hilma af Klint, who passed away in 1944, was a trailblazer in abstract art. Her spiritually charged works created decades before the more widely recognized figures of abstract art such as Wassily Kandinsky and Piet Mondrian, have only recently garnered global recognition. The current dispute over her legacy underscores the complexities of balancing artistic integrity with financial and institutional sustainability, raising important questions about how to honor the intentions of artists posthumously while adapting to contemporary market realities.

Sayart / Maria Kim, sayart2022@gmail.com