b'HTT P://WWW .JANE TRUTT ENBERG.COM/TKTKTKTKTKTKTK important, one way or another, diversity and coexistence pervade Janets art as an overriding theme: Throughout her work, the social or artistic value of any image or means of image-making depends intuitively on its constructive and provocative interrelationships with other images and means of image-making. Like everyone else, my rst opportunity to appreciate the scope and splendor of Janets Central Park paintings was the exhibition organized by the Museum of the City of New York toward the end of 2013. In a brief essay for Gatherings (Pointed Leaf Press, 2013), I presented Janet as a 21st-century Impressionist or Post-Impressionist, creating a series of variations on a single panoramic SCANTHISQRCODEORVISIT:motif, each based on rst-hand observations. I noted how she sometimes incorporated gures into her Central Park paintings that were familiar excerpts from famous museum paintings by, among others, Pierre-Auguste Renoir, Edouard Manet, Paul Gauguin, and Seurat. She told me that the presence of such familiar gures expressed her conviction that people today are no different from those recorded by past artists as abiding stereotypes from a universal life cycle. To take one example, as an art historian, I immediately noticed that, for some reason, the large nude ABOVEStill from the video animation, Dancing Grass, based on a 2014 photograph, as it appears inthe video frame for Study #9 and in the 2019 frame for Blue Jeans / Condoms.OPPOSITEMagnet Collage, 2015, inkjet, cut-paper collage, magnets on paper, mounted on a wooden panel, with three LCD screens inserted, 65 x 71 inches.OVERLEAFE=mc 2, begun circa 2010, oil, mirrored glass, inkjet, cut-paper collage on canvas, 108 x 180 inches, photographed in 2022; in its video frame composed of 128 syncronized LCD screens, created in 2016 and revised in 2021. 4445'