b'A vertical format watercolor on one of the 16-foot-long rolls of heavy paper that she uses for the upper and lower horizontal sections of her horizontal watercolor studies, Voyeur was not conceived with any frame in mind. Janet intended to install Voyeur by attaching its upper corners to a wall and allowing the composition to cascade onto the oor like an opened scroll, but since the ceiling in her studio is just 12 feet high, she eventually needed to mount the painting in a concave housing, with both the top and bottom ends curving a few feet forward, to be observed by a spectator obliged to look not only straight ahead, but up and down at overhead branches and underfoot grass. Instead of using the LCD screens as interconnected bordering elements, Janet now attached individual screens here and there throughout the painted surface. With its elongated proportions, as an image Voyeur corresponds to a narrow central slice of one of Janets typical Sheep Meadow compositions where, almost always, she overlaps the irregular graphic rhythm of the descending branches of the elm tree in the immediate foreground with the soaring geometric rhythm of the background skyline visible beyond them. In Voyeur the skyline includes both the 44-story luxury hotel at 160 Central Park South, topped by its six-storytall Essex House sign, and the towering shaft of the neighboring Steinway Tower visible under construction beyond it at 111 West 57th Street starting in 2014. In total, Janet attached 12 cell-phone-sized LCD screens throughout her vertical paper support, and loosely placed ve more on the bottom oor section, where she also placed a single larger screen. She partially overpainted most of the screens, especially around the edges, somewhat obscuring the videos, but in the process merging themin terms of color and brushworkwith the particular places in the hand-painted composition to which they are attached. Each screen plays a sequence of brief Sheep Meadow videos corresponding to its placement. Videos of squirrels play both on screens attached to the painted branches overhead as well as on screens placed on the bottom section. Screens attached to buildings in the background show some of the occupants, as well as construction workers and the iconic Essex House sign. In the video sequence with the distant sign, leaves sometimes obscure most of the letters, leaving visible only the letters SEX. Screens attached to the lawn show various sunbathers, picnickers, and faraway horse-drawn carriages. In order to be more easily viewed from above, the ve unattached video screens scattered across the bottom grass section extending onto the oor are tilted slightly upward, resting on loose green power cables. These are functional, but nevertheless double as bits of grassy collage. Representing a complex layer of shadows, exposed roots and grass, the brushwork in this bottom section is perhaps best described as graphic delirium. At the center of this bottom section, Janet has painted a spread-out picnic blanket on top of which she has attached photographs of seated gures as more collage. This painted picnic blanket is where she has placed the single large display screen on its back, and so perfectly oriented in relation to the round picnic plate protagonist of the video it displays. Of course, with the reections of the distant skyline as well as overhanging branches visible around its rim, the plate is a micro-cosm. First used for Magnet Collage, this video in Voyeur is again accompanied by the soundtrack with the Robert Frost poem about downward-bent branches and the Dickinson poem about trans-formative light. Roughly a foot directly above the screen with the plate video, Janet has attached one of the smaller LCD screens, its outer rim painted the same uorescent green as the heavily re-worked middle-ground lawn that is full of cracks, pentimenti, and faint pencil sketches. The three-part video sequence on this screen includes the reclining couple observed beyond some animated blades of grass (that had already appeared in the frame for Study #9), followed by images of reclining sunbathers as a backdrop for the solitary passerby that Janet associates with Death, and then a couple having sex in public. Nearly hidden behind her partner, the female in this par-OPPOSITEDetail of Stand Clear of the Closing Doors. A nal layer of uorescent green pastel adds a colorful texture to the oil painting on canvas. 72'