2020 promises to be a banner year for Jasper Johns. Duelling exhibitions at The Whitney Museum and the Philadelphia Museum of Art predict the most comprehensive consideration of the artist’s oeuvre to date. A small teaser of thirty-eight works made during the last six years is currently on view at Matthew Marks Gallery. A sombre color palette and the re-workings of earlier themes of death and dying invite the reading of the work of an artist at the twilight of his career. It absolves the show of the sort of didactic interpretations that have become de rigour when considering Johns’ work. The great quantum leap in linking language to experience and image to emotion which in turn are distilled into an artwork is the artist’s legacy and nowhere more apparent than in his searing drawings and monotypes based on the Life magazine photo of a grieving Lance Corporal James Farley during the Vietnam War. Elsewhere, Johns circles back to his Seasons paintings from the mid-1980s with two new interpretations that superimpose the artist’s shadow with a jolly skeleton. Recurring subjects and motifs serve as armatures for a continuous mirroring and rewriting of gestural form and provide the springboards for the artist’s relentless experimentation with materials that place him into the distinguished category of one of the most gifted living artist in America today. At Matthew Marks through April 6.