b'has always been her intention to somehow individualize each of these scores of gures in some way or other, thus to achieve a lavish group portrait of everyone that she has come to know, at least on sight, during two decades of working at the same site, waiting patiently to seize her picture as soon as it appears. In keeping with her enterprise as a surreptitious painter of group portraits, for Bees Dick Janet envisioned a frame of display screens operating independently of each other, each showing a different Sheep Meadow video, many of them close-ups of single individuals or several grouped together. Tinted a golden green to harmonize with one another as well as the painted landscape, and played in slow motion, these brief videos in the aggregate help to sustain a cohesive trance-like state of mind in contemplation of this crowded eld of vision. For this so-called faces frame Janet painted the edges of all 124 display screens, effectively framing each of these components as separate small artworks, one of her many graphic variations on the relationships between parts and wholes. Judging from photographs taken at her studio, Bees Dick was still not framed in 2017, when Janet began to introduce shafts of late afternoon light ltered through the leaves of the tree to the right of her composition, repeating a brilliant motif already captured in two major 2013 works: Lemonade and Study #8. Rendered with highly reective gold leaf, matching the glow from the screens, the shafts of light in Bees Dick at this stage appeared miraculous, like the rays in Renaissance paintings of the Annunciation, with overtones of profound sexuality. Visually balanced in relationship to the cascading elm branches at the left of the composition, the shafts emanate like the spokes of a wheel from a hub that corresponds to a piece of broken mirror attached as collage. More recently, Janet subdued the graphic drama of these shafts, while instead emphasizing the glow of light registered across the entire lawn, now divided into two horizontal zones, one darker, one lighter, similar to the separate upper and lower sections of her large watercolors. Meanwhile, she has modied the intermixture of photographic and hand-painted images of gures in the lower right section of Bees Dick, and she has attached a cut-out photographic image of a bird in the grass as a collage element on top of the screens situated at the frames lower right corner. Similar to photographs of plants that she had already used as collage elements to extend beyond the edge of the compositions in Morning Glories and Lemonade, this bird appears to have escaped from Bees Dick, or to await a place within it. In visual relationship with this bird collage element, as well as with the bordering row of video images of people, Janet now painted other birds all across the foreground of Bees Dick, portraits of familiar animalssome in pairs, like the park people. To accompany them, she added long, undulating green brushstrokes at rhythmic intervals, as long blades of bending grass observed in close-up. To me, these suggest some mysterious calligraphy awaiting comprehension. The frames for E=mc 2and Bees Dick were both in development by the time the Study #9 frame and Magnet Collage returned from the motherdaughter exhibition in Iowa. Janet opted not to elaborate the programming and distribute videos across all of the screens of the Study #9 frame as originally planned. Instead, she doubled the width of the frames metal armature along the interior sides and bottom (but not, curiously, along the top). She lled the additional slots with cell-phone format still-color photographs of Sheep Meadow people, mostly in close-up, similar in visual effect to the video screens for the faces frame of Bees Dick. Modied this way, the original frame designed for Study #9 became to her thinking suitable for any of her watercolor studies, no mat-ter if the edges of the largest of them will partly overlap and so obscure the new frames inner edges. Now a separate entity cordoning off an empty section of wall surface, the large rectangle formed from small video and photographic images awaits any Central Park watercolor that more or less ts. As for the Magnet Collage, it was disassembled because its heavy backing was too dif-\x00cult to move. But most of its innovative collage elements, including the soundtrack poetry reading, were immediately repurposed for Voyeur, a far more complex if no less experimental work. OPPOSITEDetails of The Tarot Card.OVERLEAFStand Clear of the Closing Doors, 2019, oil, pastel, 8 LCD screens attached to or embedded in the canvas, 1093/ x 180 inches, with border of neon tubing. 46869'