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This dissertation studies the critical reception of Hilma af Klint trough three exhibitions: Spiritual in Art – Abstract Painting 1890-1985 (Los Angeles, 1986), Secret Pictures by Hilma af Klint, (Helsinki, 1988) and Hilma af Klint – A Pioneer of Abstraction (Stockholm, 2013), addressing the crucial prominent figures and voices in the discursive field around af Klint. The aim is carried out throug
