In this untitled work of his from 1973, McLaughlin layers two rectangular bars—one white, one gray—on top of a solid black plane, situating them in the bottom third of the canvas. Though a narrative reading is counterproductive to the Zen meditation the artist hoped to inspire, I can’t help but see the dead and buried Christ, enveloped in the darkness of his tomb, and recall the first three lines of Elizabeth Rooney’s poem “Easter Saturday”: