In this issue, we are undoing. An undoing is a loosening, an overturning—it’s a way of making space for new things to emerge. Its temporalities are not set; it can be a quick correction or a process of trial and error, a distillation or a reconfiguration. To undo is to recognize that the canons, legacies and histories of art that so often feel entrenched can shift, can be let go. And painting—well, what is painting? Everyone who contributed to this issue, and likely everyone reading it, will have a different answer.