Not all art is impractical. Certainly figurative art serves the practical purpose of imitation. Even "art for art's sake" has a clear aesthetic purpose. In the '50s, when Twombly was developing his signature style, Abstract Expressionism seemed to be liberating art from any kind of practical function. And from Cubism on, abstract art has lent itself to much abstract commentary. Abstract Expressionism inspired reams of theorizing, most famously on Jackson Pollock's swirling lines. In the late 1960s, the 10,000 mathematically precise straight lines in the conceptualist Sol LeWitt's "Wall Drawings" occasioned equal amounts of speculation that LeWitt's lines were answers to Pollock's random arabesques. Nobody, however, could erect a theory on Twombly's images. They are not just products of the imagination; they do not exist as correlatives to ideas, let alone to things. Done in pencil and crayon, Twombly's trademark images capture the transient, universal sign of distraction: the doodle. Twombly inverts both Pollock's and LeWitt's seriousness. He does not make art. He makes pre-art.