b'green wires needed to connect the consoles various screens on a narrow glass shelf that proj-ects out from its bottom. As seen previously in Voyeur, these undulating wires are more collage, providing a grass-colored bed for ve more cell-phone-sized screens, all partly painted over. Considering the integration of video and painting throughout The Tarot Card, these isolated screens appear like outtakes, afterthoughts, or perhaps extras still under consideration for the encyclopedic project. Shifting from this to that, the myriad images and sounds orchestrated in The Tarot Card overload a viewers senses in a way that approximates as never before what it means to stand still in one place like an artist at the mercy of sights and sounds, exhilarated by how the mind takes everything in at once. The visually madcap console notwithstanding, the most prom-inent multimedia interventions in The Tarot Card are the two videos that are projected on the centers of the inkjet prints. The lower projection is the already mentioned video of the three g-ures sharing the Tarot cards revelations. The upper projection animates the minimal hand-painted image of the blue sky reected from the glazed 84-story Steinway Tower, with the reections of drifting white clouds, themselves projected images of shifting shapes beyond comprehension. The Tarot Card was still called The Magician in 2018 when Janet agreed to have an exhibition of her multimedia paintings at ArtYard in Frenchtown, New Jersey, which opened in September of 2019. She keeps a country home nearby. Not surprisingly, this commitment immediately motivated her to not only resolve important works under way, but to extend the range of her multimedia materi-als rather dramatically. It certainly took me by surprise when in early 2019 she had neon tubing attached all around the outer edge of a painting entitled Stand Clear of the Closing Doors. (She explained to me that the title is a tongue-in-cheek reference to the pressure to nish all her demanding works with a deadline in mind.) Begun in 2012 as an untitled variation on her hallmark Sheep Meadow motif, Stand Clear of the Closing Doors had evolved with a special emphasis on the branches and leaves dangling over the artists head close enough to touch, some simply outlined, others rendered in detail, the wide variety of her graphic annotations responding to each different leaf, whether suffused with light or in shadow, as if it were a different note in a suspend-ed visual score. In the paintings early stages these overhanging leaves and their shadows on the ground constituted a green border for her enormous composition, which featured dozens of rudimentaryguresarrayedonoutspreadwhiteblanketsallacrossthelawn.Although quick outlines and touches of gold leaf here and there appear as remnants that vaguely indicate this multitude of figures flooded in sunlight, the roughly abraded texture throughout the middle ground of the painting in its nal state is more abstract than gurative. Janet once quipped that hundreds of bodies were buried in this particular landscape, so often scraped away, begun dif-ferently, and scraped away again, then again. This way, evidence of her layered efforts to capture them are as much a part of the picture as the gures themselves. At some point Janet cut small, irregular, hard to nd holes in her canvas, some in the lawn, others in the leaves above. Although the holes look like the result of excessive scraping, they are irregular windows through which barely recognizable bits of video are visible, playing on screens attached to the back of her canvas. The largest hole, at the right, reveals the bare arm and back of a male sunbather, here in a group with other gures suggested with one or two reddish brushstrokes. Still further to the right, other male sunbathers appear in partially overpainted LCD screens attached to the front of the canvas rather than to the back. As collage, the reproduction of a drawing of a horse-drawn Central Park carriage that is attached nearby co-exists in her composition with these video screens as yet another instance of her arts pervasive representational diversity. The constant apple-green glow of the neon tubing around the paintings edges suffuses the viewers awareness with inescapable color. The glow pervades OPPOSITEDetail of Blue Jeans / Condoms in its frame with the Dancing Grass video. 7879'