Almine Rech’s second exhibition devoted to Nathaniel Mary Quinn—titled ‘In the Valley,’ and set to take place in Aspen, Colorado—shows that the American painter thinks in painting, that his engagement with the world is pictorial. Yet, you will often hear people speaking of his oeuvre in terms of collages, surrogate paintings, whose raison d’être would supposedly be imbued with Cubist pioneers’ insertion of paper cuts from the everyday into canvases. That perception is surface. It is hindered by the restrictive equation of collage with papier collé, as explored by Pablo Picasso and Georges Braque. It is thus solely founded on the apparent fragmentation of the figure into a myriad of strictly heterogeneous and external elements. But when facing a painting by Quinn, we behold a nascent, complex, and diverse homogeneity.