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In his review of Tate Modern's current eye-opening show on Albers and Moholy-Nagy, John Winter singled out Moholy's Light Space Modulator as the star attraction (AJ 23.03.06).

While this wonderfully eccentric machine slowly revolves to cast changing patterns of light and shadow in the room, a film is projected on one of the walls, in which Moholy focuses on the mirrored and metal planes of the Modulator as they shift and recombine in a series of gleaming abstractions.

Being skilled in several media and exploring the connections between them, film-making was just one of Moholy's interests, but he took it sufficiently seriously to generate enough material for an afternoon of screenings at Tate Modern on Sunday 16 April ( www. tate. org. uk). One promised film dates from his brief stay in London en route to the US - The New Architecture at the London Zoo (1936).

Another of Moholy's jobs in the UK was for the Architectural Review, taking photos and doing the layout for its July 1937 issue on 'Leisure at the Seaside'. One pretext for this was Bexhill's just-completed De La Warr Pavilion which, now restored, is putting on some fine exhibitions. The two latest, opening on 8 April, are devoted to the co-architect of the building, Erich Mendelsohn, and the recent restoration process, as captured in photographs by the then artist-in-residence, Bridget Smith ( www. dlwp. com). The Mendelsohn was seen originally at Manchester's CUBE (AJ 04.11.04).

When Bridget Riley first showed her paintings in New York in the 1960s, Albers called her 'his daughter'.

Perhaps that remark makes most sense when one thinks not so much of the aggressive black-and-white Op Art pieces from her early career but the complex nuanced works in colour she went on to do, like Close By (1992), a detail of which is pictured above. By this time, much like Albers with his Homages to the Square, Riley had 'a palette of approximately 100 carefully selected colour values' - or so we learn in Robert Kudielka on Bridget Riley (Ridinghouse, £14.95), a book which should reward anyone interested in either colour or abstraction. Kudielka has studied Riley's work for decades and conveys its subtleties well.

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