Sharon Gold (b. 1949) is an American artist whose work received critical acclaim over multiple decades as a pioneer of the minimalist painterly field of existential formalism. Gold’s career started in earnest in 1976 during her hit solo show at OK Harris in New York, which sparked significant curatorial dialogue investigating her monochromatic abstractions through which the skeleton of the stretcher frame could be seen, resulting in institutional exhibitions at MoMA PS1, Dia Art Foundation, Carnegie Mellon University, Rose Art Museum, the Everson Museum of Art, and Princeton University Art Museum. These exhibitions led to reviews by Arthur Danto, Donald Kuspit, Ken Johnson, and Stephen Westfall in publications ranging from Artforum to the New York Times, New York Magazine, Art News, and many others. Gold explored a wide variety of painterly terrain over multiple decades, always forging a new path and never slowing down for the art market’s trends. Gold was a fixture in art theory and feminist scenes in New York while writing for Re-View Magazine, M/E/A/N/I/N/G/S, and Artforum.