embarked on an extensive series of suites of watercolors, The Loose Leaf Notebook Drawings. Each sheet consisting of a few strokes on low-grade loose leaf paper. The paints bleed and pooled, causing the paper to buckle, giving the works three-dimensionality. The illustration from the suite 5 Loose Leaf Notebook Drawings from 1980 to 1982, in the collection of the Honolulu Museum of Art, demonstrates how the suites challenge viewers to contemplate the distinction between fine art and trash. His works in the 1990s consisted mostly of smaller-sized work, followed by bodies of low-relief wall-bound pieces that integrate painting, sculpture, and drawing. In 2004, Tuttle installed Splash, his first public art project, a mural 90 by 150 feet with about 140,000 pieces of colored glass and white ceramic tiles. It stretches up the side of a luxury condominium building designed by Walter Chatham for a private, guarded island community in Miami Beach called Aqua. Tuttle has always "privileged newness, not found or weathered elements that refer to past lives and experiences," Sharon Butler wrote in a Two Coats of Paint review of "Days, Muses and Stars," his 2019 expansive multiple-gallery exhibition at Pace. "The distinctive feature of his aesthetic endeavor is his reverence for the present. His objects, though they may convey a sense of wabi-sabi precariousness, are invariably made of pristine materials that reflect the proximate experience of making." Tuttle's work has been extremely influential on a younger generation that has embraced the casualism that he pioneered. Textile works During a residency at The Fabric Workshop and Museum in 1978, Tuttle embraced the silkscreen printing process and the idea of fabric to make a series of clothing — Shirts in 1978 and Pants in 1979. I Don't Know, Or The Weave of Textile Language, on view at the Tate Modern in 2014, was made for the museum's turbine hall and is Tuttle's largest to date spanning nearly 40 feet in length. Featuring the textiles he designed and fabricated, the work is suspended from the ceiling in contrast to the hall’s industrial architecture. Exhibitions Tuttle's first major museum exhibition in 1975 was covering his first ten years of work organized by the Whitney Museum in New York. Tuttle has since been the subject of museum exhibitions around the world, and included in the Venice Biennale (1976, 1997, 2001), three documenta (1972, 1977 and 1987) and three Whitney Biennial exhibitions (1977, 1987,