LOUISE FISHERMAN’S 1992 Valles Marineris is a large vertical oil painted entirely with a roller: no brushwork is involved. Its first surface is a heavily yet loosely rolled skin of warm dense gray, which forms a grid for 16 rectangular openings, a system of “windows” that bare the painting’s underbellies. The openings are green and they drip.

In the mid ’70s, the composer Gavin Bryars came upon a recording of a song sung by an old tramp living rough in London: “Jesus’ blood never failed me yet / Never failed me yet; / There’s one thing I know, / For he loves me so.” Bryars took the old man’s cracked, rapturous voice and added a dark, rapturous orchestration—strings, horns, a chorus, choirs. For the first 25 minutes of the 1993 CD Jesus’ Blood, though, we hear nothing but the old man repeatedly singing the only thing he has (we imagine). There is no diminution of joy or fervor, no matter

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