at Tate Modern until 3 September 

If you visit After Impressionism at the National Gallery, the last works you see are three early paintings by the Dutch artist Piet Mondrian in which he moves away from a post-Impressionistic, representational view of nature, and starts to embrace the abstraction for which he is both famed and celebrated. What better way to follow that, than by rediscovering his work in all its varied forms as exhibited at Tate Modern? His paintings are seen alongside those of the less familiar, but increasingly lauded figure, Hilma af Klint. 

This Swedish artist is gradually being accepted as the first to fully embrace truly abstract art - a primacy which had previously been claimed by two Russian painters, Wassily Kandinsky and Kasimir Malevich, some years later. It is not simply the usual story that a woman has been overlooked, although precisely why her work is so little known is something of a mystery. It has generally been assumed that she chose not to exhibit her paintings, assuming that the world was not yet ready for them, but recent research has shown that this was not the case. 

Tate's exhibition explores the work of both artists. Although they never met, they share much in common: an early career based on landscape painting and the observation of nature, and the development of their own, idiosyncratic languages of abstraction based on contemporary philosophical and religious beliefs. Following the arguments of Tate's exhibition, we will explore both artists' work, looking especially at the less familiar aspects of Mondrian's output, and seeking to give the visionary work of Hilma af Klint the familiarity it so richly deserves.