Grammars of Creation takes as its framework and point of departure George Steiner’s text of the same name, published in the summer of 2001. It is the first in an ongoing series of group exhibitions organized by Moskowitz Bayse that contend with the precarious position of creation in contemporary art making, and urges for its primacy in practice. Artists included in this first iteration of 'Grammars' convey ideas related to being in their work by the conveyance of meaning through form, vis a vis an adherence to a singular visual language or idiosyncratic modes of their own creation–a distinct grammar, of sorts. Specifically, they use abstraction to a similar degree found in music, creating ways of communication that are intuited by methods far outside of linguistic means. The exhibition posits that the creation of such grammars rely on artists’ fortitude to look inward in order to transcend individual experience, and suggests that it is these distinct grammars that make each work of art ineffably legible–and therefore feelable–to the viewer. Image: Nate Young, Untitled (Altar No. 21), 2017, Graphite on paper, walnut, resin, and gold leaf, 48 x inches open; 48 x 18 inches closed. Courtesy of the artist and Monique Meloche Gallery, Chicago.