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Two long, narrow paintings, done in a naive style, show a wild-boar hunt in the swamp.
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Mika Seki, another Manhattan dealer, has a pair of narrow scroll paintings signed by Kawanabe Kyosai (1831-1889), a popular Japanese artist whose work was exhibited at the Philadelphia Centennial Exhibition in 1876.
Her narrow, jewel-colored wax paintings from the same time take the waxen surfaces of Brice Marden's early monochrome panel paintings to extremes: a brush width across and a brush stroke long, they maintain the integrity of each new layer of color with mouthwatering clarity, while building up a surface that feels dangerously (which is to say erotically) like skin itself.
Mr. Valledor's narrow vertical and horizontal paintings are composed of crisp, linear patterns of spikes or zigzags in soft, modulated green, yellow and blue-gray.
Yet what's striking is the unevenness, the variations of touch and finish, and the way that even within their narrow confines the spot paintings do the usual Hirst thing: that is, they range from good to atrocious.
The institution was officially named the Museum of Modern Hungarian Art -- with galleries named after Mr. Vasilescu -- and its function was narrowed to exhibiting mostly paintings.
As Mr. Foy tells it, he was moving paintings into the narrow gallery space when he leaned the outsized canvas against the window to get it out of harm's way.
The walls of the narrow hallway are covered with paintings, including several by William Burroughs, made during Burroughs's London phase, when Miles took on archival duties and compiled a bibliography of his work; he has also edited a variorum edition of Allen Ginsberg's Howl.
A long and narrow form is customary for scroll paintings.
Their conversations, his extraordinary paintings, break open the narrow constraints of her existence, connecting her with the bold, eager girl she used to be, the dreams she long ago folded up and put away.
There are so many ways to be interested in Frida Kahlo, who was born a hundred years ago and died forty-seven years later, in 1954, that simply to look at and judge her paintings, as paintings, may seem narrow-minded.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com