b'mounts these long slices of landscape together into some of the largest watercolors ever made by any artist. The two pieces often do not align exactly, and on at least more than one occasion she has added a smaller watercolor over part of one of the long strips. Thanks to such irregulari-ties, the giant watercolors have overall patchwork structures, in them-selves expressive of the drama of her self-critical artistic process. No matter how informal, these roughly 15-feet-wide watercolors are majestic in themselves, only secondarily related to the oils as studies. Made on the spot, the watercolors are Ruttenbergs spontaneous respons-es to the challenges she faces as a painter. For example, in the watercolor Study 2, Ruttenberg sketches the figures in an effort to concentrate on the overall composition, the integration of the background skyline with Left: Detail of watercolor Study 15.Right: Broad brushstrokes define City Landscape, 1955, by Joan Mitchell.'