Feldman's scores were close in spirit to Rauschenberg's all-white and all-black canvases, Barnett Newman's gleaming lines, and, especially, Rothko's glowing fog banks of color.
When viewing the apparently all-gray or all-beige canvases in the show's first room, try this: approach them slowly from a distance, attempting to keep the surface in focus.
The standard medium-large size of all the canvases doesn't help.
All the canvases here play with the picture plane, have implicitly geometric compositions or refer to art making.
All the canvases measure 16 by 14 inches; the colors are severely muted and gesture is minimized.
It is as if his eye had wandered away from the main action to focus on the periphery, the outlying corner of the stone ledge or mantelpiece that is a constant in all these canvases.
All the canvases in "Love Letters" relate to letters: reading and writing them, sending and receiving them through messengers, storing cherished ones in a letter box and sealing important letters with a wax seal.
All the canvases were painted with different colours that were mixed and/or overlaid with each other.
Titled "Cubic Knots," all the canvases are octagonal and painted in the De Stijl palette of the primaries plus black and white.
These include some of the busy, all-over canvases of the 1940's, impacted hieroglyphs and gossamer webs of thin white lines over flickering color, as in "The Mouse Trap" (1949).
