The work represented at the Whitney extends through untitled abstractions in pencil and crayon; an abstract series done in acrylic paint and pencil titled, "Scenes From an Ideal Marriage," more untitled abstractions in acrylic paint, biomorphic-looking monotypes in acrylic paint on newspaper, and—most recently—large, vibrantly colored painted pieces. In all of these works, the casualness of Twombly's hand denotes a continuity between art and life that makes the distinction between them nonsensical. Liri is part of a series of works representing flowers, some of them boldly bearing the name of a person or a place written in a juvenile hand. The work is like a finger-painting across which a child will proudly write his name as an expression of wonder rather than ego. It is not an instance of an adult rationally, proprietarily signing his work of art. This is art signing a person, proclaiming itself as the essence of an identity.