Mr. Elderfield opens by pairing Jasper Johns's 1982 «In the Studio» with Picasso's 1928 «The Studio,» a great match given their intimations of real and depicted bodies and their shifting combinations of white paint and bare or
nearly bare canvas to depict walls, art and studio table.
At the start is the deathly glamour of Stella's Black Paintings — bands in matte enamel, separated by fuzzy pinstripes of
nearly bare canvas — which shocked everyone with their dour simplicity when they appeared in a show at the Museum of Modern Art, in 1959.