“Cubes in Line” Marko Spalatin (b.1945), 1972 serigraph/screenprint 30×25, pencil-signed, titled & numbered 35/50.

$2,000.00

“Cubes in Line” Marko Spalatin (b.1945), 1972 serigraph/screenprint 30×25, pencil-signed, titled & numbered 35/50.

A bold 1972 geometric abstraction by Marko Spalatin, Cubes in Line presents staggered cubic forms in vibrant orange and green, creating rhythmic depth through precise screenprinting. Pencil-signed, titled, and numbered 35/50, this work exemplifies Spalatin’s mature exploration of modular repetition and optical movement.

Artwork Description

What you’re looking at
Cubes in Line features a vertical progression of interlocking cubes that appear to advance and recede in space. The composition emphasizes sequential movement—each cube locking into the next—creating a visual cadence that guides the eye upward through the pictorial field.

Style & period
Produced in 1972, this work belongs to Spalatin’s fully mature phase, when his cube-based vocabulary had become confident, refined, and immediately recognizable. It aligns with hard-edge geometric abstraction and Op Art–adjacent practices, where perception is activated through repetition and contrast rather than illusionistic shading.

Medium & technique (serigraph/screenprint)
The image is constructed through multiple, meticulously registered silkscreens. Flat planes of saturated green and vivid orange are placed in exact opposition, causing the cubes to oscillate visually between solidity and suspension. Spalatin’s hallmark is evident here: uniform pigment application, razor-sharp edges, and spatial illusion achieved entirely through color relationships.

Signature & editioning
The print is pencil-signed by the artist (lower right), titled (lower left), and numbered 35/50 (lower center). The moderate edition size, paired with strong visual impact, makes this an appealing and accessible entry point for collectors of Spalatin’s work.

Conceptual framework
In Cubes in Line, Spalatin explores how repeated forms can function as both individual units and as parts of a continuous system. The linear arrangement introduces a sense of progression and time, while color contrast destabilizes the fixed reading of depth. The result is a composition that feels both architectural and kinetic.

Marko Spalatin (b. 1945)

Background & training
Marko Spalatin was born in Zagreb, Croatia, in 1945 and immigrated to the United States in 1963. He earned a B.S. in Art (1968) and an M.F.A. (1971) from the University of Wisconsin–Madison, where his interests in geometry, color theory, and printmaking converged.

Where he practiced
Spalatin is strongly associated with Wisconsin, a center of innovative printmaking in the late 1960s and 1970s. From this base, he exhibited widely throughout the United States and Europe, establishing an international reputation.

Artistic influences & style
Rooted in constructivism, hard-edge abstraction, and perceptual color theory, Spalatin’s work investigates how flat, precisely applied color can generate complex spatial effects. Symmetry and repetition serve as formal anchors, while subtle chromatic shifts activate the visual field.

Printmaking significance
Spalatin is particularly respected for his serigraphs, which allowed him complete control over color density and edge clarity. Works from the early 1970s—especially cube-based compositions—are widely regarded as definitive expressions of his artistic philosophy.

Collector perspective
Cubes in Line occupies a strong secondary position within Spalatin’s oeuvre. While less conceptually dense than the Module series, it is prized for its graphic clarity, vibrant palette, and immediate visual impact, making it especially attractive for both seasoned and emerging collectors.

Marko Spalatin (Croatian-American, b. 1945), Cubes in Line, 1972. Serigraph/screenprint in colors on paper, 30 × 25 inches. Pencil signed, titled, and numbered 35/50. Geometric hard-edge abstraction emphasizing repetition and spatial rhythm. Provenance: Mitch Morse Gallery to Artfind Gallery, Washington DC.

Certificate of Value & Authentication

Artist: Marko Spalatin (b. 1945)
Title:Cubes in Line
Year: 1972
Medium: Serigraph / screenprint in colors on paper
Dimensions: 30 × 25 inches
Edition: 35/50
Signatures/Marks: Pencil signed, titled, and numbered by the artist
Condition (visual): No visible condition issues noted from available images; in-person inspection recommended
Provenance: Mitch Morse Gallery (acquired in NYC, United States and Europe) → Artfind Gallery, Washington DC
Authentication: Consistent with Spalatin’s documented early 1970s serigraph practice

Provenance Chain (Collector Format)

Marko Spalatin (artist) → Mitch Morse Gallery (publisher/agent; acquired in NYC, United States and Europe) → Artfind Gallery, Washington DC (current owner).

“Cubes in Line” Marko Spalatin (b.1945), 1972 serigraph/screenprint 30×25, pencil-signed, titled & numbered 35/50.

A bold 1972 geometric abstraction by Marko Spalatin, Cubes in Line presents staggered cubic forms in vibrant orange and green, creating rhythmic depth through precise screenprinting. Pencil-signed, titled, and numbered 35/50, this work exemplifies Spalatin’s mature exploration of modular repetition and optical movement.

Artwork Description

What you’re looking at
Cubes in Line features a vertical progression of interlocking cubes that appear to advance and recede in space. The composition emphasizes sequential movement—each cube locking into the next—creating a visual cadence that guides the eye upward through the pictorial field.

Style & period
Produced in 1972, this work belongs to Spalatin’s fully mature phase, when his cube-based vocabulary had become confident, refined, and immediately recognizable. It aligns with hard-edge geometric abstraction and Op Art–adjacent practices, where perception is activated through repetition and contrast rather than illusionistic shading.

Medium & technique (serigraph/screenprint)
The image is constructed through multiple, meticulously registered silkscreens. Flat planes of saturated green and vivid orange are placed in exact opposition, causing the cubes to oscillate visually between solidity and suspension. Spalatin’s hallmark is evident here: uniform pigment application, razor-sharp edges, and spatial illusion achieved entirely through color relationships.

Signature & editioning
The print is pencil-signed by the artist (lower right), titled (lower left), and numbered 35/50 (lower center). The moderate edition size, paired with strong visual impact, makes this an appealing and accessible entry point for collectors of Spalatin’s work.

Conceptual framework
In Cubes in Line, Spalatin explores how repeated forms can function as both individual units and as parts of a continuous system. The linear arrangement introduces a sense of progression and time, while color contrast destabilizes the fixed reading of depth. The result is a composition that feels both architectural and kinetic.

Marko Spalatin (b. 1945)

Background & training
Marko Spalatin was born in Zagreb, Croatia, in 1945 and immigrated to the United States in 1963. He earned a B.S. in Art (1968) and an M.F.A. (1971) from the University of Wisconsin–Madison, where his interests in geometry, color theory, and printmaking converged.

Where he practiced
Spalatin is strongly associated with Wisconsin, a center of innovative printmaking in the late 1960s and 1970s. From this base, he exhibited widely throughout the United States and Europe, establishing an international reputation.

Artistic influences & style
Rooted in constructivism, hard-edge abstraction, and perceptual color theory, Spalatin’s work investigates how flat, precisely applied color can generate complex spatial effects. Symmetry and repetition serve as formal anchors, while subtle chromatic shifts activate the visual field.

Printmaking significance
Spalatin is particularly respected for his serigraphs, which allowed him complete control over color density and edge clarity. Works from the early 1970s—especially cube-based compositions—are widely regarded as definitive expressions of his artistic philosophy.

Collector perspective
Cubes in Line occupies a strong secondary position within Spalatin’s oeuvre. While less conceptually dense than the Module series, it is prized for its graphic clarity, vibrant palette, and immediate visual impact, making it especially attractive for both seasoned and emerging collectors.

Marko Spalatin (Croatian-American, b. 1945), Cubes in Line, 1972. Serigraph/screenprint in colors on paper, 30 × 25 inches. Pencil signed, titled, and numbered 35/50. Geometric hard-edge abstraction emphasizing repetition and spatial rhythm. Provenance: Mitch Morse Gallery to Artfind Gallery, Washington DC.

Certificate of Value & Authentication

Artist: Marko Spalatin (b. 1945)
Title:Cubes in Line
Year: 1972
Medium: Serigraph / screenprint in colors on paper
Dimensions: 30 × 25 inches
Edition: 35/50
Signatures/Marks: Pencil signed, titled, and numbered by the artist
Condition (visual): No visible condition issues noted from available images; in-person inspection recommended
Provenance: Mitch Morse Gallery (acquired in NYC, United States and Europe) → Artfind Gallery, Washington DC
Authentication: Consistent with Spalatin’s documented early 1970s serigraph practice

Provenance Chain (Collector Format)

Marko Spalatin (artist) → Mitch Morse Gallery (publisher/agent; acquired in NYC, United States and Europe) → Artfind Gallery, Washington DC (current owner).

 

1945     Born in Zagreb, Croatia

1963     Immigrated to United States

1968     B.S. in Art, University of Wisconsin — Madison

1971     M.F.A., University of Wisconsin — Madison              

       

STATEMENT

"My work represents a continuous involvement with abstract geometric forms defined by careful manipulation of color and light. The relationship between form and color within the pictorial field demands a visually symbiotic presence. The challenge revolves around the selection of a form as a vehicle for color, as well as choosing appropriate color and light for that form. This interplay creates a primary spatial illusion, along with secondary effects. I find that precisely defined areas of color, when placed against each other, compete for dominance. This activity, when further accentuated by tonal structure, produces multiple levels of perception. A given area of uniformly applied pigment loses its flat character through simultaneous contrast with the surrounding colors. In many cases, the positive and negative spaces within the field become interchangeable. In more complex paintings, when the substructure is a series of repetitive modules, the color-light interplay reveals its polyphonic character.

In general, my compositions remain formal and symmetrical in order to be set in motion by unexpected mutations of color and light. In some cases, the careful placement of small areas of saturated color against a backdrop of transitional grays creates an illusion of suspended particles. There is no doubt that in these images in particular, my sense of color and light is subconsciously influenced and sustained by many years of scuba diving in the waters of the Adriatic Sea and the Caribbean. I am intrigued by the relativity of color and by the mystery of light, and I am constantly challenged to explore their potentials. Every painting becomes a self-imposed visual problem, subjectively resolved in search of an objective truth."

___

PERMANENT COLLECTIONS

Musée d'Art Moderne — Paris, France

Museum of Modern Art — New York, New York

Tate Gallery — London, England

Bibliothèque National — Paris, France

Victoria & Albert Museum — London, England

Library of Congress — Washington, D.C.

Museum of Contemporary Art — Chicago, Illinois

Metropolitan Museum — Manila, Philippines

Philadelphia Museum of Art — Philadelphia, Pennsylvania

The Butler Institute of American Art — Youngstown, Ohio

Museum of Modern Art — Belgrade, Yugoslavia

Milwaukee Art Museum — Milwaukee, Wisconsin

The Brooklyn Museum — Brooklyn, New York

Lessing J. Rosenwald Collection — Philadelphia, Pennsylvania

Cleveland Museum of Art — Cleveland, Ohio

Elvehjem Museum of Art — Madison, Wisconsin

Akron Art Institute — Akron, Ohio

Museum of Modern Art — Novi Sad, Yugoslavia

Madison Art Center — Madison, Wisconsin

New York Public Library — New York, New York

Oklahoma Art Center — Oklahoma City, Oklahoma

Masur Museum of Art — Monroe, Louisiana

National Arts Club — New York, New York

Albrecht Museum — St. Joseph, Missouri

Billings Art Center — Billings, Montana

National & University Library — Zagreb, Croatia

Rochester Museum of Art — Rochester, New York

Museum of Modern Art — Ljubljana, Slovenia

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ONE-MAN EXHIBITIONS

1970     Akron Art Institute — Akron, Ohio

1970     Fairweather Hardin Gallery — Chicago, Illinois

1970     Jane Haslem Gallery — Madison, Wisconsin

1971     Madison Art Center — Madison, Wisconsin

1971     Suzanne Kohn Gallery — St. Paul, Minnesota

1971     University of Iowa — Iowa City, Iowa

1971     Galerie Lahumière — Paris, France

1972     Fairweather Hardin Gallery — Chicago, Illinois

1972     Landry-Bonino Gallery — New York, New York

1972     S.C. Gallery — Zagreb, Croatia

1972     Gallery IlI — Montreal, Québec

1972     Daedalus I — Detroit, Michigan

1973     Mathis Gallery — Racine, Wisconsin

1973     Galerie Lahumière — Paris, France

1973     Galerie Regards — Paris, France

1973     University of Wisconsin — Madison, Wisconsin

1974     Galeria Bonino — New York, New York

1974     Habatat Gallery — Dearborn, Michigan

1975     Albrecht Museum — St. Joseph, Missouri

1975     Osprey Gallery — Rochester, New York

1975     Gallery "6" — Wichita, Kansas

1975     National Arts Club — New York, New York

1975     Devorzan Gallery — Los Angeles, California

1975     Fairweather Hardin Gallery — Chicago, Illinois

1975     Studio One — Beirut, Lebanon

1976     Heritage Gallery — Oklahoma City, Oklahoma

1976     Janus Gallery — Washington, D.C.

1976     Thomas Word Gallery — Edina, Minnesota

1976     The Gallery — Tampa, Florida

1976     Creative Gallery — Seattle, Washington

1976     G. McCleaf Gallery — Philadelphia, Pennsylvania

1976     Editions — Houston, Texas

1977     Madison Art Center — Madison, Wisconsin

1977     Fanny Garver Gallery — Madison, Wisconsin

1978     Source Gallery — San Francisco, California

1978     Dee Erlien Gallery — Milwaukee, Wisconsin

1980     Gilman Galleries — Chicago, lllinois

1981     Posner Gallery — Milwaukee, Wisconsin

1981     Seuferer Chosy Gallery — Madison, Wisconsin

1983     Gallery 200 — Columbus, Ohio

1984     Galeria La Feluca — Rome, Italy

1984     Posner Gallery — Milwaukee, Wisconsin

1984     Galeria Labirint — Ljubljana, Slovenia

1985     Swearingen Gallery — Louisville, Kentucky

1985     Gallery 200 — Columbus, Ohio

1985     Horace Williams House — Chapel Hill, North Carolina

1985     Jane Haslem Gallery — Washington, D.C.

1986     Rodin Gallery — St. Louis, Missouri

1987     Reece Gallery — New York, New York

1987     Grace Chosy Gallery — Madison, Wisconsin

1988     Posner Gallery — Milwaukee, Wisconsin

1988     Horace Williams House — Chapel Hill, North Carolina

1989     National & University Library — Zagreb, Croatia

1989     Denis Conley Gallery — Akron, Ohio

1990     Syd Entel Gallery — Tampa, Florida

1990     Cumberland Gallery — Nashville, Tennessee

1991     Mangel Gallery — Philadelphia, Pennsylvania

1992     Denis Conley Gallery — Akron, Ohlo

1994     Editions Limited Gallery — lndianapolis, Indiana

1995     The Butler Institute of American Art — Youngstown, Ohio

1997     DeLind Fine Art Gallery — Milwaukee, Wisconsin

1999     Uzelac Gallery — Pontiac, Michigan

1999     DeLind Fine Art Gallery — Milwaukee, Wisconsin

2000     Denis Conley Gallery — Akron, Ohio

2000     Metropolitan Art — Dodgeville, Wisconsin

2001     Atelier Gallery — Madison, New Jersey

2002     DeLind Fine Art Gallery — Milwaukee, Wisconsin

2003     Croatian Academy of Art — Zagreb, Croatia

2004     Denis Conley Gallery — Akron, Ohio

2004     Fairfield Art Museum — Sturgeon Bay, Wisconsin

2004     Reece Galleries — New York, New York

___

SELECTED GROUP EXHIBITIONS

1967     "9th Annual National Exhibition of Prints and Drawings" — Oklahoma Art Center — Oklahoma City, Oklahoma (also 1968)

 

1968     "American Graphic Workshops Exhibition" — Cincinnati Art Museum — Cincinnati, Ohio

 

1968     "34th Wisconsin Salon of Art" — University of Wisconsin — Madison, Wisconsin (also 1969, 1971)

 

1969     "The Local Scene" — Deson-Zaks Gallery — Chicago, Illinois

 

1969     Jane Haslem Gallery — Washington, D.C.

 

1969     "American Prints — World War lI to the Present" — The Brooklyn Museum — Brooklyn, New York

 

1969     Madison Art Center — Madison, Wisconsin

 

1969     Lincoln Memorial Art Center — Milwaukee, Wisconsin

 

1969     "Northwest Printmakers 40th International Exhibition" — Seattle Art Museum — Seattle, Washington (also 1970)

 

1970     World's Fair — Osaka, Japan

 

1970     "Seven Wisconsin Printmakers" — Suzanne Kohn Gallery — Minneapolis, Minnesota

 

1970     "American Prints Today" — Munson-Williams-Proctor Institute — Utica, New York

 

1970     "17th National Print Exhibition" — The Brooklyn Museum — Brooklyn, New York

 

1970     "New Talent in Printmaking" — Associated American Artists Gallery — New York, New York

 

1970     Phoenix Gallery — Berkeley, California

 

1970     "National Print and Drawing Exhibition" — Western Illinois University — Macomb, Illinois

 

1970     "8th National Print Show" — Silvermine Guild of Artists — New Canaan, Connecticut

 

1970     "6th National Print and Drawing Competition" — Dulin Gallery of Art — Knoxville, Tennessee (also 1971)

 

1970     "2nd Annual National Print Exhibition" — San Diego State College — San Diego, California (also 1971)

 

1971     Habatat Gallery — Dearborn, Michigan

 

1971     Galeria Bonino — New York, New York (also 1973)

 

1971     "22nd National Exhibition of Prints" — Library of Congress — Washington, D.C.

 

1971     "1st Hawaii National Print Exhibition" — Honolulu Academy of Arts — Honolulu, Hawaii

 

1971     "1st Annual National Print Exhibition" — Georgia State University Gallery — Atlanta, Georgia (also 1972)

 

1972     "Yugoslav Graphics 1965-72" — Museum of Modern Art — Belgrade, Yugoslavia

 

1972     Fanny Garver Gallery — Madison, Wisconsin

 

1972     "7th Annual Exhibition of Yugoslav Graphic Art" — Zagreb,Croatia  (also 1976, 1982, 1986, 1988)

 

1972     "3rd International Print Biennale" — Paris, France

 

1972     "3rd British International Print Biennale" — Bradford City Art Gallery — Bradford, England (also 1974)

 

1972     Galerie — Paris, France (also 1973)

 

1973     "Printmakers Midwest Invitational" — Walker Art Center — Minneapolis, Minnesota

 

1974     Galeria Bonino — Caracas, Venezuela

 

1974     "1st International Biennale" — Segovia, Spain (also 1976)

 

1975     Milwaukee Art Center — Milwaukee, Wisconsin

 

1975     "Exhibition and Symposium of Prints and Printmakers" — University of South Dakota Fine Arts Center — Vermilion, South Dakota

 

1976     Fanny Garver Gallery — Madison, Wisconsin

 

1976     Galerie Cimaise — Bourg en Bresse, France

 

1977     "12th International Graphic Biennale" — Museum of Modern Art — Ljubljana, Slovenia  (also 1979, 1983)

 

1978     "Wisconsin Biennale" — Madison Art Center — Madison, Wisconsin (also 1980)

 

1978     "A Larger View" — Boulder Art Center — Boulder, Colorado

 

1978     "Three Abstract Painters" — Mary Bell Gallery — Chicago, Illinois

 

1980     Mary Bell Gallery — Chicago, Illinois (also 1981)

 

1981     Milwaukee Art Museum — Milwaukee, Wisconsin

 

1982     Contemporary Limited Editions — Safety Harbor, Florida

 

1982     Gallery 200 — Columbus, Ohio (also 1986, 1992)

 

1984     Olympic Museum — Sarajevo, Bosnia

 

1985     Jane Haslem Gallery — Washington, D.C.

 

1987     "Wisconsin Directions" — Milwaukee Art Museum — Milwaukee, Wisconsin  (also 1989)

 

1989     "World Biennale of Croatian Art" — Toronto, Canada

 

1989     Malton Gallery — Cincinnati, Ohio

 

1990     "20th Anniversary Exhibition" — Gallery 200 — Columbus, Ohio

 

1991     Basel International Art Fair — Basel, Switzerland

 

1992     Cumberland Gallery — Nashville, Tennessee

 

1992     Meissner Gallery — Hamburg, Germany

 

1994     DeLind Fine Art Gallery — Milwaukee, Wisconsin

 

1994     "The Print Club of Cleveland: 1969-94" — Cleveland Museum of Art — Cleveland, Ohio

 

1994     "58th National Midyear Exhibition" — The Butler Institute of American Art — Youngstown, Ohio

 

1998     "150 Years of Wisconsin Printmaking" — Elvehjem Museum of Art — Madison, Wisconsin

 

1998     "Joe Wilfer: Acquisitions for the Permanent Collection" — Madison Art Center — Madison, Wisconsin

 

1999     "20th Anniversary Show" — Cumberland Gallery — Nashville, Tennessee

 

2000     "Small Packages" — Cumberland Gallery — Nashville, Tennessee

 

2000     "20th Anniversary Show" — Ben Mangel Gallery — Philadelphia, Pennsylvania

 

2001     "Progressive Printmakers: Wisconsin Artists and the Print Renaissance" — Elvehjem Museum of Art, Madison, Wisconsin

 

2002     "Small Packages" — Cumberland Gallery — Nashville, Tennessee

 

2003     Corbino Gallery — Sarasota, Florida

 

2004     Reece Galleries — New York, New York

 

2004     Habatat Gallery — Boca Raton, Florida

 

2004     Longstreth Goldberg Art Gallery — Naples, Florida

 

2004     Milward Farrell Fine Art — Madison, Wisconsin

 

2004     Editions Limited Gallery — Indianapolis, Indiana

 

2004     DeLind Fine Art Gallery — Milwaukee, Wisconsin

___

SELECTED BIBLIOGRAPHY

Terry Kirkman, "Master Serigrapher ln Montreal," Montreal Star, Montreal, Québec, March 16, 1972

 

Luce Vermette, "Marko Spalatin," Vie des Arts, Summer 1972

 

Bogdan Tirnanić, "New Vision in Graphic Art," Politika, Belgrade, Yugoslavia, August 6, 1972

 

Donna M. Stein, "Interview with Marko Spalatin" (exhibition catalog essay), Landry-Bonino Gallery, New York, New York, August 23, 1972

 

Josip Škunca, "Variations on Constructive Ideas," Vjesnik, Zagreb, Croatia, October 5, 1972

 

John Canaday, "Marko Spalatin," New York Times, October 7, 1972

 

Douglas Crimp, "Marko Spalatin," Art News, November 1972

 

James Auer, "Spalatin: Alchemist ln Acrylics," Milwaukee Journal, July 6, 1973

 

Philip Larson, "Printmakers: Midwest Invitational" (exhibition catalog introduction), Walker Art Center, Minneapolis, Minnesota, September 9, 1973

 

John Newhouse, "Marko Spalatin," Wisconsin State Journal, September 22, 1973

 

Rosemary Teres, "Spalatin Re‑creates the 'Ideal Form'," Times‑Union, Rochester, New York, June 7, 1975

 

William Zimmer, "Marko Spalatin," Arts Magazine, April 1976

 

Gertrude Struck, "Marko Spalatin," Madison Select, January 1977

 

Dave Wagner, "Spalatin Exhibit Dramatic Show of Artist's Progress," Capital Times, Madison, Wisconsin, January 14, 1977

 

Thomas Albright, "Marko Spalatin," San Francisco Chronicle, San Francisco, California, May 24, 1978

 

Joseph Wilfer, "Marko Spalatin: Graphic Work 1968‑1978" (retrospective exhibition catalog introduction), Madison Art Center, Madison, Wisconsin, 1978

 

Karen Bornstein, "Marko Spalatin," New Art Examiner, Chicago, Illinois, December 1980

 

James Auer, "Spalatin Show Tingles with Energy," Milwaukee Journal, Milwaukee, Wisconsin, May 24, 1981

 

Gayle Crum, "Nature's Forms," Capital Times, Madison, Wisconsin, October 9, 1981

 

Carmen Elsner, "Forms, Underwater Sights Influence Spalatin," Wisconsin State Journal, October 13, 1981

 

Warrington Colescott, "Wisconsin Prints and Printmakers," Wisconsin Academy Review, March 1983

 

Jacqueline Hall, "Dazzling Paintings Highlight Show," Columbus Dispatch, Columbus, Ohio, May 29, 1983

 

Brane Ković, "Spalatin's Nautical Forms" (exhibition catalog essay), Galeria Solkan, Nova Gorica, Slovenia, April 1984

 

Ervin Y. Rodin, series ed., "Marko Spalatin" (biographical text), Symmetry, István Hargittai, ed., Pergamon Press, Ltd., New York, 1986

 

Vladimir P. Goss, "Marko Spalatin" (exhibition essay), Horace Williams House, Chapel Hill, North Carolina, May 1988

 

F. Ross, "Artist AppIies Contemporary Vision…," News of Orange County, HiIlsborough, North Carolina, June 1, 1988

 

Alexander K. Shiroka, "Horizons '89" (catalog essay), World Biennale of Croatian Art, Toronto/Vancouver/Calgary, Canada, October 1989

 

Ivan Švertasek, "Marko Spalatin" (retrospective exhibition essay), Nacionalna Biblioteka, Zagreb, Croatia, November 16, 1989

 

Edward J. Sozanski, "Adherent of Op Art Explores New Angles," Philadelphia Inquirer, Philadelphia, Pennsylvania, April 15, 1991

 

Dawna Camper, "Marko Spalatin's Dazzling Abstractions," Art Look, Indianapolis, lndiana, Spring 1994

 

Vladimir P. Goss, "Interview with Marko Spalatin," Hrvatski Obzor, Zagreb, Croatia, July 3, 1995

 

James Auer, "These Artists, Their Works Are Always in Motion," Milwaukee Journal Sentinel, Milwaukee, Wisconsin, October 20, 1999

 

James Auer, "Artist Explores Niche in Series of New Paintings," Milwaukee Journal Sentinel, Milwaukee, Wisconsin, May 22, 2002

 

Lilijana Domić and Vladimir P. Goss, "Marko Spalatin: Prints 1979-2001" (exhibition catalog essays), Croatian Academy of Art, Zagreb, Croatia, June 2003

 

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