It’s the ones that run near amok that are best, the ones that feel just outside the border of able-to-keep-your-ducks-in-a-row. There's a distinct level of Voyeurism involved here.
Questions remain of who is/can-be delegated the task of subjective expressions. The question gets run-off into intentions, and choice, and knowability of the subject, and is this “behaving,” and but every artist today is a well behaved one, so possibly moot.
Lassnig’s subject-object problem permutes, prescient proto-version of Sillman’s bodies-that-matter imbued formalism, and many others, Lassnig even depicting a literalized morphosis of abstract-form-subject. Borges stating the writer invents their historical influences, and maybe its the wave now that makes visible Lassnig at all. Strange how pleasing the abstractions are and how formally-subservient-to-what-they-depict the representational are.
What’s missing here is her words used to describe the work, totally out-of-line of today’s standards.