Twin 1966

Robert Ryman made 'Twin' with white paint, exploring the subtleties within a seemingly simple palette. I imagine Ryman in his studio, maybe on a grey day like this, layering the paint, almost dry brushing. It’s not just white, is it? There are hints of cream, beige, something warmer, and a cooler grey peeking through. You can see the tracks of the brush, the direction of his hand. It’s not about hiding the process; it’s about revealing it, making it visible. He's working with the grid, but not in a dogmatic way. I remember Brice Marden once saying something like "all paintings are gray," which is kind of funny to think about here. Ryman, Marden, Agnes Martin—they're all in conversation with each other, pushing the boundaries of what painting can be, what it can express. With a painting like this, we are left to our own devices. It isn’t trying to tell you anything. It just is. And that’s enough, isn’t it?