• 辛格只在兩幅畫中採用這種粉紅色調,此作為其一。另一幅則於 2018 年在紐約 Matthew Marks 畫廊舉辦的開創性群展《繪畫:現在和永遠,第三部分》(Painting: Now and Forever, Part III)展出。
i Avery Singer, quoted in “Digital Reflex: Avery Singer and Ed Atkins Respond to Texte zur Kunst,” Texte zur Kunst, issue no. 95, September 2014. ii Isabelle Graw, trans. Gerrit Jackson, The Vitalist Economy of Painting, exh. cat., Galerie Neu, Berlin, 2018, p. 30. iii Ibid. iv Avery Singer, quoted in “Digital Reflex: Avery Singer and Ed Atkins Respond to Texte zur Kunst,” Texte zur Kunst, issue no. 95, September 2014. v Isabelle Graw, trans. Gerrit Jackson, The Vitalist Economy of Painting, exh. cat., Galerie Neu, Berlin, 2018, p. 30. vi Avery Singer, quoted in Orit Gat, “Venice Biennale artist, Avery Singer talks processes, robots, and post-human painting,” Art Basel Stories, 2019, online. vii Isabelle Graw, trans. Steven Lindberg, “Openings: Avery Singer,” Artforum, November 2014, online. viii Avery Singer, quoted in Nicolas Trembley, “Interview with Avery Singer, the youngest painter to be represented by Hauser & Wirth,” Numéro, April 17, 2020, online. ix Isabelle Graw, trans. Gerrit Jackson, The Vitalist Economy of Painting, exh. cat., Galerie Neu, Berlin, 2018, p. 30.