The “Ocean Park” paintings are often huge, contemplative, geometric abstractions that Diebenkorn made while residing in the Santa Monica neighborhood. Here, echoing the ‘Notre Dame, a Late Afternoon’ from a few rooms back is Matisse’s 1914 ‘View of Notre Dame,’ a further abstraction of the view in the earlier painting, this time done in scumbled blue tones, with singular black lines and arcs indicating the bridge over the river, the perspective of the river and walkway, and the edge of the window or wherever the artist looked out from. The cathedral appears as a proto-Brutalist edifice, half-filled in with blue, its two peaks scratched in and blunted. To the left is Diebenkorn’s ‘Ocean Park #54’ (1972), an enormous canvas composed of soft, whited-out strips of green, blue, and purple rectangular forms, whose shapes get incrementally smaller as your eye travels diagonally to the top right corner, where it stops at a Matissean blue square. Though neither artist was on his deathbed while making these, these paintings feel close to death, weirdly sublime.