In another piece of correspondence, Darboven ponders what to do for an announcement card but ultimately comes up short: “No—no time no more for any ideas. See you later.” Alongside such sentiments, Darboven’s letters burst with notations, underscores, dates, and elongated dashes that fill the empty space and interrupt sentences. Her texts hint at the intertwining of writing and drawing that were at the core of her artistic impulse for more than 40 years. Much like Darboven’s own practice did, these letters cross the boundaries between drawing and correspondence, art and life.
Darboven’s show opened in late November, and a considered review was published in the Houston Chronicle by the paper’s art critic, Charlotte Moser, a few weeks later. In Moser’s assessment, Darboven’s art appeared as “intriguing chemical elements charts…contain[ing] a numerical sequence that the viewer is left to decipher.” Her conclusion was that Darboven had “in essence, created her own visual symbol for information, this a basis for abstract art at any level.” Early the following year, Cusack sent a letter to Darboven detailing the successes of her work and exhibition in Houston, and “although none sold,” she remarked, it was “an outstanding show—beautiful, vibrant—with much vitality.”
Correspondence between the two remained active over the next few years, as Darboven sent dynamic, thoughtful, and personalized artworks to Cusack through the mail. Many feature her characteristic mathematical prose, in which the artist represented every day of the year as a single number by adding up all the figures in a given date—what Darboven termed the “K-value.”