"Wilson’s work from the 1950s at Gallery Wendi Norris shows the dramatic transition between her biomorphic form to her symmetrical pieces. In “Angel Stretching its Wing” (1952-54), the grit of the sand mixed with the oil paints gives the piece a rough texture that grounds the celestial figure. “Perpetual Revolution” (1952-54), meanwhile, feels bursting with kinetic energy, like the paint could leap off the canvas. It also seems to anticipate her deepening interest in Indigenous American art," writes Tony Bravo.