It’s believed most of The Five’s meetings took place at Mathilda Nilsson’s house at Kammakargatan 6, as she was already quite influential in the realm of spiritualism in Sweden. Most of The Five (others eventually attended the meetings as well) lived in Ostermalm, central Stockholm’s fashionable new eastern district that was developed at the turn of the 20th century. From about 1898 to 1918, Hilma lived with her mother at Brahegatan 52. Anna Cassel, another member of The Five who became the artist’s lifelong friend and occasional financial support lived at Engelbrektsgatan 31. Though a few modern buildings likely dot each block of the district, pilgrims will still find the ambience of the streets much as Hilma likely did — with charming cafes, taverns and shops on street level, and tidy rows of apartment windows above.

Erik af Klint and his family lived at Karlavagen 56, the family home on one of the district’s broader avenues, where his son Johan recalls his great-aunt’s paintings were stored, rolled up in boxes in an unheated attic for more than 20 years. Miraculously, they emerged in virtually impeccable condition.

Despite having rejected an outright bequest of Hilma’s legacy, the Moderna Muse et has been instrumental in conserving the collection and has recently committed to maintaining her presence in its galleries.

“We don’t want to create a separate gallery or a shrine to her that is isolated from everyone else,” Fredrik Liew, the curator of Swedish and Nordic art, said, “because our museum exists to put things into context.”

On view through most of 2020 is a selection of notebooks from 1902 to 1905 by The Five, including automatic drawings created as a group, as well as individual drawings by Hilma. These are shown along with other Swedish artist collectives from the period, particularly through the lens of feminism in a gallery titled “A Room of One’s Own,” in homage to Virginia Woolf. A nearby display, “Spheres of Abstraction,” places af Klint’s larger paintings with other artists of the period who turned to abstraction to represent not just spiritual or utopian ideals but also to express the sometimes frenetic movement and pace of modern cities.