Between landscapes and abstraction, there exists an intimate place that a number of women artists have never ceased to explore. In Etel Adnan’s mountains or Pat Steir’s waterfalls, nature’s shapes and movements are inspired by the means that painting has to hand. Contrary to figurative landscapes, the places, phenomena and elements are no longer there as subjects. They blend in and become part of an experience that the very properties of a colour, a mark, a line or a streak have the function of transforming. Far from being limited to a single fashion or style of interpretation, the affinities between landscape and abstraction manifest themselves even in works such as Maria Helena Vieira da Silva’s stations and terraces. The plurality of techniques and materials, such as the metal foil used by Anna-Eva Bergman or Helen Frankenthaler’s engravings on wood, are a witness to this plastic research carried out by women artists, between the outside world and the subject to be portrayed.