One of the common criticisms of Pollock’s paintings is the “I could do that” response. While anyone could make a random mark by flinging paint, it would take a more skilled painter to make a fluid loop.1 But how many artists could make that exact same mark a second time? And could anyone, short of a painter of Pollock’s caliber, make a third nearly identical mark? But Pollock did. After making a mark, he made two parallel marks. This passage is not an isolated case. It, and others like it, demonstrate the skill with which Pollock worked. These three marks also demonstrate how the life of Autumn Rhythm emerges from the relationships of its material.
Summarize the argument