Untitled [verso] 

Editor: So, here we have Rothko's Untitled [verso], a drawing with hints of landscape and figuration. It's such a simple sketch, almost like a blueprint. What strikes you most about the raw materiality of it? Curator: Immediately, I'm drawn to the visible process. Look at the paper itself - the fibers, the slight discoloration, and the bold marks left behind. These elements challenge our preconceived notions of preciousness in art. We're forced to acknowledge the labor, the hand of the artist, and the choices made during production. Editor: I see what you mean. The sketchiness gives it an unfinished feel, like we're catching a glimpse of the artist's thought process. Curator: Precisely! It's also interesting to consider this in the context of Rothko's larger body of work, where he later moved toward large-scale color field paintings. How does this humble drawing, emphasizing process, challenge the established narrative around Abstract Expressionism's supposed transcendence? Editor: That's a good point. I'd always considered him to be more about pure feeling. So, this really brings him down to earth. The marks left behind during creation makes me think about accessibility to his work in new ways, and opens up a more tangible interpretation of his works. Curator: Exactly. We're looking at something created, not a manifestation from a far-off place, created with very few resources. We get to reflect on the socio-economic aspects surrounding the art, and view what we call "art" and other modes of "making" in art. It has really broadened your definition of art, right? Editor: Definitely. Looking through a materialist lens changes everything. It's fascinating. Curator: Agreed. Considering production and consumption forces a new level of engagement.