Painting is everywhere, you may have noticed, and abstraction is beginning to supplant figuration again. But few of its contemporary practitioners come close to Sillman’s jolie-laide visual nous, perhaps because her work springs from unusual, twined roots: the unfettered vibrancy of Abstract Expressionism and the pop mobility of animation (which, along with zines, she also makes and exhibits on iPads). That she’s contributed to revivifying her medium was reflected in Sillman’s presence in Cecilia Alemani’s international exhibition at this year’s Venice Biennale, where the American painter’s big paintings on dangling paper moved like a filmstrip, her restless compositions semaphoring suggestions of human and animal bodies. Meanwhile, for latecomers, images from that show fold into a soon-to-come reissue of her terrific 2020 book of selected writings, Faux Pas. It’s been a long ride since her career’s mid-1970s outset, but Sillman is finally being recognised as a multi-talented modern master.