How does one become a monochrome? The four Art Make-Up films, made between 1967 and ’68, answer that question and show their maker, Bruce Nauman, to be not only painter but painted. This work, in which the artist covers his body in white, pink, green, and black, stirs up from the spectator’s musings an assortment of memories: Noh theater, Al Jolson, the pink and blue bodies of Pontormo’s famous Entombment, even Rodchenko. Faithful to the logic of the monochrome, it is silent, a silence rendered all the more enigmatic by an exhibition subtitled “Image/Text 1966–1996,” and largely (if you take