[. . .] On Varnishing Day, Turner would often go to the exhibition rooms at the Royal Academy in London and significantly rework his paintings after they had been hung on the walls. It can be during this first public outing that you have a sudden realization that what you thought was done is not. That’s why I always try to project into that future as I work. I have learned to do this as I’ve been in a situation a couple of times when everything suddenly looks so much less than it did in the studio. It can be good to adjust the tolerances in works before they leave the studio, adding ten percent more of something here, five percent more of something else there — a bigger toe, a more acid yellow, etc. Hopefully when the works are in situ in public, those percentages reduce to the levels you were after in the first place.

— Rebecca Warren interviewed by Sheena Wagstaff, UNFINISHED: THOUGHTS LEFT VISIBLE