Before seeing Carol Bove and Gordon Terry’s walk-in vault in their studio in Red Hook, Brooklyn, I met with Terry alone. Essential to his painting process is an enormous table of his own invention. It sits on wheels and has hydraulic jacks on each corner. On top of the table lies a layer of glass on which Terry pours acrylic paint that he guides by adjusting the height of the hydraulic jacks, causing the glass to tilt and the paint to run in the directions he chooses. The end result is typically either round shapes that look like specimens of plant spores from another galaxy, which he affixes in groups to a plexiglass support; or, a bright, multi-hued sheet of acrylic, which gets stretched, sans a traditional canvas or support backing, over a frame. Pure paint, no support. He explains, “The table has been evolving over the years—there have been earlier versions. But this one is by far the most elaborate.”