Jean Dubuffet believed that art must be part of ordinary life and sought artistic authenticity outside of established conventions and an annihilation of hierarchical values. On view to April 26 at the gallery’s 540 West 25th Street location in New York, L’Hourloupe Cycle is staged to celebrate the 50th anniversary of the Fondation Dubuffet (last year).

The stunning show brings together a selection of significant paintings, sculptures, and architectural models from public and private collections, including the monumental canvas Nunc Stans—among the largest paintings that Dubuffet ever created—on loan from the Guggenheim Museum in New York.

One of the great innovators of post-war European painting, Dubuffet looked to the margins of society to liberate his own creativity. He coined the term “Art Brut” to describe the raw aesthetic of such outsiders, challenging the conventions of the period. Ahead of his time as both an artist and a philosopher, Dubuffet’s works posed fundamental questions about the nature of reality, leaving an indelible mark on the history of Modernism.

With the Hourloupe, Dubuffet used his practice as a means to reinvent the everyday in an alternate world. The gallery’s exhibition in New York showcases the dictionary of biomorphic forms that Dubuffet invented as part of the Hourloupe’s visual language of experience and sensation. Charting the artist’s use of a recurring alphabet of forms across painting, sculpture, and architecture, the show reflect his lifelong effort to disrupt and refashion our modes of perception.