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Quaytman doesn't see her conceptual paintings as singular compositions but as parts of an overall scheme detailing the arc of her career—a "book in which each successive show is a chapter.” The works here are part of a series originally mounted at the Tel Aviv Museum of Art, one revolving around Paul Klee’s Angelus Novus (1920), located in the museum’s collection. In it, Klee pasted a monoprint over a 16th-century engraving of a figure in a black robe—an image all but obscured by the collage. Quaytman set out to discover the identity of this hidden figure, subjecting Klee's piece to X-rays and other tests. In a process that took two years, the artist attempted to solve what was, essentially, a 95-year-old art-historical murder mystery—an investigation that became the grist for these paintings.