b'The freedom of execution suggests a sense of visual overload, as if there is too much to see all at once. Indicated in summary fashion, the figures on their blankets get smaller and blurrier as the plane of the lawn recedes be-tween the branches and the skyline, interlocked visually overhead. Most of the figures look like nudists, pasty pale like the man in the right foreground who oversees a baby and toddler at his still-mostly sketchy picnic, dark like the African-American with his red-headed partner in the shade, or sun-burned like all the tiny orange figures resting in the middle of the lawn. Comparable in subject matter to the photographs staged by Spencer Tu-nick with crowds of nudes, the figures in Bees Dick sit and sprawl on dozens of white blankets, all with thin shadows along the edges, all the blue lines creating a pattern across the lawn. With lines per se in mind here, Ruttenberg used the tiniest dashes to show the spokes and handle-bars of two bicycles dropped on top of one another. All around the cen-tral area of figures, in the spirit of some Golden Age, are Ruttenbergs hallmarkbordermotifs:thebackgroundbuildings,theoverhanging branches, precisely rendered at the left, quickly sketched at the right, and the grasses underfoot. In this particular case, she got her title from a bee pollinating a flower in the bottom foreground zone, thinking the insect had a rather tiny member for such a huge painting. Ruttenbergs vision is often animated by jumping from one scale to another, almost like a pianist trying to use every octave on the keyboard. Scale jumps are nowhere more essential to Ruttenbergs pictorial adven-ture than in Morning Glories, the most structured, chaotic, and multi-me-dium of all the large Central Park paintings. The long, overcrossing diag-onals are quick indications of the lattice of a chain link fence along the edge of the Sheep Meadow, which serves as a trellis for countless morning glories. Ruttenberg took close-up photographs of the flowers, leaves, ten-'