© 2017 arTMargins and the Massachusetts Institute of Technology doi:10.1162/arTM_a_00184 Lam, I could say: for me it means bodies stretched to their utmost line, lines extended until their fi nal point, angles like stemposts run aground having split the space of their course all the way to their last beach; Lam, I could say: he paints at the limits, just as a few others have thought at the limits. Yet I prefer to write: these words are those of a man, who, among thousands and thousands of others, one day, encountered Lam in his work. But need we speak the risky language of the encounter? Better that of the entrance, the most natural possible, into the nearest of spaces and the most familiar of worlds. Like everyone, I have been struck by some painters, shaken by others, sometimes intrigued and even torn—by some among the greatest. And each time a long labor was needed, in the most muted recesses of the body, to restore the peace of an agreement or to say to suffering: yes. Now, with the fi rst canvas by Lam I saw, it was as if I’d known it forever. Unbeknownst, it was already part of me. And each time I advanced into his work, by sections and chances—the teeth of life— D O C U M E N T

中文翻译：

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林（1977）

©2017 arTMargins和麻省理工学院doi：10.1162 / arTM_a_00184我可以说：对我来说，这意味着身体伸展到最大线，线一直延伸到最终点，像茎杆一样的角度搁浅了，分开了它们的空间一直到他们最后的海滩；林，我可以说：他画的极限，就像其他人认为的那样。但是我更喜欢写：这些话是一个人的话，一天之中，成千上万的人在工作中遇到了林。但是我们需要说相遇中的危险语言吗？最好是尽可能自然地进入最近的空间和最熟悉的世界。像每个人一样，我被一些画家打动，被其他画家打动，有时被某些画家吸引，甚至被撕碎，其中有些人是最伟大的。每次需要在身体最安静的凹处进行长时间的劳动，以恢复协议的安宁或对痛苦说：是的。现在，有了林先生的第一幅画布，我似乎永远知道它。不为人知的是，它已经成为我的一部分。每次我进入他的工作时，都是通过生活中的各个环节和机会（文档）