Lead Knot: 7 1988

Sherrie Levine made "Lead Knot: 7", and what strikes me first is the dance between the handmade and the readymade. The pale woodgrain background feels like a given, yet the lead "knots" – more like drops or seeds, really – are deliberately placed, creating a push and pull between chance and intention. Up close, the lead has a dull, granulated texture that contrasts beautifully with the smooth, almost slick surface of the wood. It's as though Levine is playing with our expectations of painting. I can't help but think of Agnes Martin and her quiet grids, but where Martin sought transcendence, Levine seems to be embracing a kind of grounded ambiguity. It's a reminder that art isn't about answers, but about opening up a space for questions, and maybe even a little bit of wonder.