b'screens on the frames bottom edge play the aforementioned animated video that Janet made with the help of Andrew Siwoff, the painted blades of grass swaying slowly like exotic dancers superimposed on the photograph of the Asian couple. In the 2019 ArtYard exhibition, these recent multimedia paintings and works were displayed together with the most recent version of one of the earliest of Janets Central Park panoramas with a video projection. By 2013 General Sherman already included a video with birds splashing in a puddle projected onto a painted image of distant buildings reected on the puddles surface at the very center of her composition. For her 2019 exhibition, Janet not only replaced the video of the projection of the puddle but designed a frame for the previously unframed work, integrating 126 cell-phone-sized LCD screens. Radianting all around the painting like a halo, the frames blue glow is comparable to the bordering green glow of neon tubing around the edges of Stand Clear of the Closing Doors, developed during the same productive months. Similar in concept to the encyclopedic compilations of her videos and drawings included in The Tarot Card, Janets rst idea was to surround General Sherman with static images of the scores of studies that she made as her painting evolved over nearly a decade, interspersed with some of her related pre-2013 video footage. Instead, she created four integrated video sequences that extend the original composition along its four edges. The 44 screens along the top of the frame show the tops of faraway buildings with birds in ight to one screen crossing from another. The screens for the frames bottom edge play images of the hexagonal paving stones that make up the path leading out of Central Parks southeast corner, the occasional bird landing on them. Meanwhile, the left and right sides of the frame, each composed of 19 screens, show videos of pedestrian passersby TING ,SCA N TH ISQRCODE,ORVISIT:OMand other typical park scenery, like horse-drawn carriages. Besides extending the works visual eld, the framing videos complement the moving image of reections from passing pedestrians projected at the very heart of General Sherman, on top of Janets painted image of buildings reflected on the surface of a puddle. Painted on site in HTT P://WWW .JANE TRUTT EN BERG .C /PERF ORM AN CE11watercolors on a separate piece of paper, the upside-down image of buildings was attached to the canvas as a collage element when the painting was barely under way. Janet explained that attaching the detailed watercolor there helped her to integrate the vertical and horizontal axes of her full composition as it developed in her studio. As important, Janet retained the watercolor in its place of honor once it had served its original purpose. She typically juxtaposes various modes of representation, some more nished than others, all orchestrated into a nal operatic image abounding with graphic evidence of its own evolution as a vision with stops and starts, but her decision to retain the relatively small watercolor as a visual anchor for her extensive urban panorama is unprecedented within the overall history of collage, to the best of my knowledge. While it seems TOSE E ALLTHEVIDE OSINTHEPAINunlikely that Janet had any inkling at this earliest stage of General Sherman that her collage centerpiece would eventually serve as a screen for a projected video, the discrepancy in scale between the attached watercolor and her overall painting surely pregures the intermixture of small LCD screens into several of her subsequent panoramic works. Merging near and far, this particular double image anticipates the video clip of a picnic plate with the Central Park South skyline reected in miniature on its rim. Both little images capture the theme of visual superimpositions pervading all Janets Central Park works. Despite the 2020 Covid-19 pandemic, Janet, wearing a mask, has painted in the park every weather-permitting day throughout that summer. When the Sheep Meadow closes for the season in November, she focuses on the stretched canvases under way in her studio, including two long multimedia paintings, one incorporating neon, the other, video. One of them is yet another variation OPPOSITESmall Tango, begun in 2012, oil, silver and gold leaf on canvas board, 48 x 60 inches, with projected video accompanied by a soundtrack. Shown here without video projection. 8283'