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Flat areas of posterlike colors and a fantastic, distorted rendition of the human figure link Pollock's painting with Miró's imagery. The presence of tic-tac-toe graphs, floating numbers, and seemingly random doodles stem from Pollock's avowed interest in being open, as were surrealists like Miró and André Masson, to the unconscious as a source of creativity. Pollock saw a Miró retrospective exhibition at the Museum of Modern Art in 1941.
  
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