b'rate variations constantly interact with one another like family mem-bers, with ideas in any one painting seeming to anticipate or reiterate those visible in others. These park paintings are a far cry from the series of enormously complex printsthatpreoccupiedRuttenbergthroughoutthe1970sand1980s, showing cars streaming along Park Avenue, the sculpted metallic bodies and glass windows of each sedan reflecting the passing buildings and trees as exquisite distortions of themselves. Observed instantaneously under these shifting conditions of reflected light, the drivers and passengers vis-ible through the windows appear a bit like ghosts, strangers to the artist and, except for those seated together, strangers isolated from one another. One version of her print involves sixteen different interconnecting panels Left: Detail from watercolor Study 10.Right: The central panel from The Garden of Earthly Delights, by Hieronymus Bosch, 1490-1510.'