I think it is all about the surface.
A critic today has his pleasure in saying how little the picture plane means.
But that is why we have little that resembles the rigor of these paintings.
I understood a lot about this by seeing how the Morandi paintings subject exactly is not the lowly vase he paints but the surface that the vase can camouflage as the real subject.
Here the image was still also of importance and it seems to me the best painting has a strong back and forth between form and content.
Meaning there is a picture surface and a subject.
Johns also is very strongly camouflaging the fact it is all about that surface. The subject having left us for the moment until we are bored of this surface for itself.
This may be what the critic means?
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