Trained as an architect in the late sixties and originally closely related to Land Art, Matta-Clark explored the notion of a ‘mutable space’ throughout his short, yet productive and influential career in the 1970’s, notably culminating in his renown ‘building cuts’. In doing so, the artist fundamentally challenged traditional concepts of recognition and use of space in art as well as our comprehension of it as a concept. His influence on artistic and architectural practice for decades to come cannot be overestimated. The surviving  documentation of Matta-Clark’s approaches to working with space by drawing through it, is through his DIY-style films, along with his novel photographic collages, which try to capture the altered spatial experience induced by his interventions. The most unusual and rarest works, however, are his Cut Drawings, of which only about 25 to 30 were made between 1972 and 1976. Growing ever more complex over the years, they can be seen as thinking pads in the development of complex projects such as Conical Intersect (Paris, 1975) or Office Baroque (Antwerp, 1977).

Both the Cut Drawings, acting more like relief sculptures in negative than drawings and the photographic collages thus relate directly to the extraordinary thinking process of this artistic genius, not only concerning his sculptural cuts into existing buildings but drawing itself and photographic approach to the rendering of space.

This selection of works contains three Cut Drawings from the earliest to the latest production phase and five photographic works from four of Matta-Clark’s most important building cuts, beginning with one of his very first intervention of 'Splitting' and concluding with his final project ‘Circus or Caribbean Orange’ in 1978, the year in which he died. Additionally, the three 
Cut Drawings featured were created at various points of his career, in which one can identify distinct parallels with iconic projects, echoing the cuts in Infraform (1973) and Office Baroque (1977).