Jackson Pollock, the master of Abstract Expressionism, reached an endgame with his groundbreaking drip paintings in 1950, and then experimented with a new technique, akin to drawing, of pouring thinned black enamel onto unprimed cotton duck.

“The power of Pollock’s allover drip paintings from 1947 to 1950 is so all-commanding that they’ve forced a blind spot in our ability to look at other aspects of the artist’s genius,” said Gavin Delahunty, senior curator of contemporary art at the Dallas Museum of Art. He began researching Pollock’s “black pourings,” made from 1951 to 1953, after conversations with artists including Wade Guyton, Jacqueline Humphries and Julie Mehretu, who discussed their influence.