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The monochromes Rauschenberg began there took him in two opposed directions: the black paintings toward a saturated repleteness (he said that he began them by painting over a ground of newspapers so that the field would already be full of marks(2)); the white paintings toward a barely touched emptiness and vulnerability to every event in their vicinity.
That image of larger-than-life repleteness becomes the merest shell of plenitude.
Spectra may seem to be fancies, but in their repleteness they are opposed to mechanical recombination.