A visitor to the Art Gallery of Ontario (AGO) recently shared an extended experience of engaging with a single artwork, revealing insights into the impact of prolonged observation of art. Over the course of nearly a year, the individual visited Mark Rothko’s painting No. 1, White and Red (1962), displayed as part of the AGO’s Moments in Modernism exhibition from June 2024 until April 2026, developing a personal connection with the piece beyond its historical or artistic significance.
The artwork is a large oil-on-canvas composition featuring smudgy rectangles in white, red, and greyish-brown tones set against a black background. While the painting’s importance is widely recognized among art historians and connoisseurs, the visitor’s focus was on the subjective, emotional effects of spending time in its presence. Initially a volunteer at the gallery, the individual began visiting the painting weekly, sometimes alone in the room, observing how enduring attention to the piece influenced their feelings. The visitor described feeling “lighter” and “reset” after each viewing, suggesting a therapeutic or meditative response.
Inspired by the concept of extended art observation sessions—popularized in part by author Oliver Burkeman’s book *Four Thousand Weeks: Time Management for Mortals* and an assignment given by Harvard art history professor Jennifer Roberts—the visitor undertook a three-hour viewing session to explore the artwork in depth. Burkeman noted that such a prolonged focus can initially provoke discomfort or irritation, but the visitor’s experience differed: after the first half-hour, distractions disappeared, allowing time to pass quickly.
During the three-hour session, the visitor engaged with the painting in various ways, including sitting on the floor, studying brushstrokes closely, and observing other gallery patrons’ reactions. Conversations with fellow visitors included differing interpretations, such as one individual who saw imagery resembling a sun and a field. The visitor, however, did not ascribe any specific narrative or hidden meaning to the painting, instead perceiving the rectangles as vibrant, energetic forms that transcend time and invite a shared human experience. Through this engagement, the visitor felt a connection not only to Rothko himself but also to a continuum of meaning extending before and beyond their own lifetime.
The visitor reflected that the greatest challenge was granting oneself permission to dedicate hours to what might seem an unproductive activity. Yet the experience proved rewarding, reshaping their understanding of art as more than visual objects, but as lived experiences capable of evoking profound emotional responses. The visitor expressed an intention to undertake similar extended viewings again in the future, highlighting the potential value of slowing down to immerse oneself in art.
The exhibition hosting Rothko’s work closed in April 2026, marking the end of this particular chapter, but the visitor’s insights offer a perspective on how sustained attention can deepen engagement with artworks and contribute to personal reflection.