“Gestures” in painting are typically thought of as bold, expressive brushstrokes. In the 1970s, American painter Jack Whitten built a 12-foot (3.7-meter) tool he named the “developer” to apply paint to an entire canvas in one motion, resulting in his series of “slab” paintings from that decade. Whitten described this process as making an entire painting in “one gesture,” signaling a clear departure from the prevalence of gestures in his work from the 1960s. Some art historians claim this shift represents “removing gesture” from the process. Therefore, regardless of whether using the developer constitutes a gesture, both Whitten and these art historians likely agree that ______