Published in conjunction with the ex­hibition José Antonio Fernández-Muro: Geometry in Transfer, this illustrated booklet examines the Spanish Argentine artist’s luminous transfer paintings, which he developed in Buenos Aires in the 1950s and later elaborated on while living in New York City in the 1960s. It includes a curatorial essay by art historian Megan Kincaid that considers how these works—made up of sweeping geometries and aluminum impressions of street surfaces—transgressed the limits of Concretism and expanded the language of abstraction. Rather than isolate what the artist termed his two “fundamental epochs” in Buenos Aires and New York, Kincaid’s text emphasizes their visual, material, and ideological continuities.