The exhibition presents two groups of paintings. Despite how they look, the paintings in both groups were made according to impersonal procedures, and both groups propose that likeness is deeper than mere appearance. And the titles of the paintings play an unaccustomed part, although differently in each group.
Fisher made the paintings in both groups by putting the paint on straight from the tube using a palette knife like a slingshot. This required the canvases to be vertical. The colors were necessarily put on separately, one after the other, as colors are printed one after the other in the graphic arts.
The model for putting on each color was the allover, an array without emphases. Fisher says, “I could control where the paint went only roughly. I could not control the precise locations and shapes of the skeins and blotches of paint. These were a matter of chance. Every result was a surprise.” Where the paint landed is where it stayed, untouched.