At MoMA, where many of the works have accompanying placards that only list biographical information and no further context for the piece, it's not surprising when visitors glance at something and move on, confused. Abstraction doesn't explain itself as easily as the aesthetic grace of John Singer Sargent's The Wyndham Sisters or the technical wonders of Bernini's Apollo and Daphne.
The painting resembles blood and gore, red paint lathered and layered with a haphazard violence that lives and breathes before you.
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