both "Systemic Painting," a survey exhibition of contemporary geometric abstraction at the Solomon R. Guggenheim Museum in New York. She also participated in "10," a group exhibition at the Virginia Dwan Gallery co-curated by Ad Reinhardt and Robert Smithson that further enshrined its participants as canonical for Minimalism. Besides Baer, Reinhardt, and Smithson, the other artists selected were Carl Andre, Judd, LeWitt, Flavin, Robert Morris, Michael Steiner, and Agnes Martin. Baer's works shown in these exhibitions, which included vertical and horizontal single, diptych, and triptych paintings, established her avant-garde reputation in the New York art world. In the late 1960s, Baer was experimenting with color and shifting the visual focus of her work. While working on the series The Stations of the Spectrum (1967-1969), Baer painted over their white surfaces to make them gray. She then turned them into triptychs because she saw that these paintings had more wall power when they were hung together. Next, as she said, "I wanted to know what happens around a corner – that interested me as an optical thing." The result was the Wraparound paintings, where-in which Baer painted thick black bands edged by blues, greens, oranges, and lavenders that went around the sides of the canvas – areas that artists customarily ignore, overlook, or cover with a frame. More than ever, the action was at the edges: "Sensation," Baer wrote, "is the edge of things. Where there are no edges, there are no places—a uniform visual field quickly disappears." Further challenging the notion of where a painting begins or ends, Baer added sweeping diagonal and curved paths of color that streaked across her once-inviolate white fields and down the sides of the canvas. These canvases bore titles like H. Arcuata (1971; coll. Daimler Corporation, Zurich) and V. Lurida (1971, Levi-Strauss Collection, San Francisco). The titles were orotund flights of fancy – they identified fictitious specious of plants that she extrapolated from a book of botanical Latin she owned. (Baer was cultivating prize-winning orchids in the late 1960s, and became an expert on growing them inside an urban loft.) When translated into English, Baer's Latinate letters and words have nothing to do with flowers; instead, they are visual descriptions masquerading as scientific diction. "H." stands for "horizontal" and "V." for "vertical." "Arcuata" means curved, and "lurida" means "pale" or "shining." Writings Baer was an active writer during her years in New York. In