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I’m thinking of “The Seasons” (1985-86), a series about delight in the world, memory, and clocks running down. I’m talking about paintings like the 1982 “Perilous Night,” named for a Cage composition, hung with casts of bruised arms, and made on the eve of AIDS. These prints, composed of unstable patterns of crosshatched parallel lines, are collectively titled “Usuyuki” or “light snow,” the name of an 18th-century Kabuki play that Johns has described as being about “the fleeting quality of beauty in the world.” Awareness of that reality has always been part of his art, and is especially pronounced in his late art, which is the work I’ve come to love most, precisely because it’s not arcane or hermetic it’s fully felt and reality-grounded. But the real glory is a selection of abstract prints Johns made between 19 with Japanese artists in Tokyo and New York (he is seen in action in an accompanying film by Katy Martin). One of his most celebrated assemblage paintings, “Watchman,” from 1964, is a centerpiece of this gallery, along with two works that incorporate a photograph of the artist, the only one that appears in his art. The corresponding installation in Philadelphia documents another important place in Johns’s life and art, Japan, where he traveled in 1964 and where, thanks to artists he met there, his interest in printmaking intensified. This picture appears at the Whitney in one of the retrospective’s most overtly biographical installations, titled “South Carolina.” After the breakup with Rauschenberg, Johns retreated to a beach house in his home state, and there his work began to lighten up, as evidenced by the 1964 “Studio,” a mural-like painting that incorporates a full-size imprint of a screen door, an image of a palmetto frond, a brush and a string of paint-spattered beer cans - real ones - dangling from its surface. Another elegiac 1961 picture, “In Memory of My Feelings - Frank O’Hara,” takes its title from a lament on lost love by a gay poet who was a friend of Johns and an art-world fellow traveler.