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4

texture constituted the sole compositional element in many of these early works.

In other paintings in the blackboard series, however, there are also on or more uneven horizontal bands extending across the painting. By echoing the shape of the stretcher, these bands provide a strong structural definition. But as Davidovich notes, they can also be seen as horizon lines that echo the distant horizons of the Argentinian plains. With their aggressively flat spatial character, these paintings remain firmly fixed within the tradition of abstract painting but, like much of the painting of the abstract expressionists, they contain an implicit reference to landscape painting. 

The extension of the black fields to the edges of the painting's frame implies the dissolution of that frame and thus a continuity with a space lying beyond it. Because the boundary defined by the stretcher is an arbitrary one, each painting can be seen as a small section of a larger work, which might extend indefinitely. The serial nature of the work is based upon this indefiniteness. 

Davidovich considers this indefinite extension to exist within a temporal as well as spatial dimension. As in the experience of viewing a landscape through a train window, the movement through space becomes