At Galerie Le Minotaure in Paris, Mathieu Mercier has curated a group exhibition revisiting the foundational principles of the Bauhaus. The show spans the gallery's two spaces on rue de Seine and rue des Beaux-Arts, featuring works by some fifty artists—from Elsa Werth's black-and-white dice trio to Jean Arp's collage, Luigi Veronesi's aniline-painted film, and pieces by Cécile Bart, Nicolas Boulard, David Malek, and Claude Closky. The exhibition is anchored by a single non-selling work: a Kandinsky ink-and-watercolor composition from the Dina Vierny collection, dating from the period when he formalized his theories in the Bauhaus treatise *Point and Line to Plane* (1926). The hang, arranged on-site without a preliminary model, emphasizes visual and conceptual associations over commercial value, with prices ranging from €100 to €300,000.
This exhibition matters because it demonstrates the enduring vitality of abstraction and the Bauhaus legacy in contemporary art, coinciding with the centenary of Kandinsky's seminal essay. By juxtaposing historical masters with emerging and established contemporary artists, Mercier's curatorial approach highlights the transgenerational relevance of Bauhaus principles—geometry, color theory, and the interplay of line and plane. The show also underscores the role of thematic group exhibitions in telling a coherent art-historical narrative, moving beyond market-driven displays to foster dialogue across generations.