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The thin distinction of Humphries from the song and dance of all those other silver abstractionists is that the well worn jazz hands of "expression" aren't, for Humphries, totally choreographed yet by Dr. Frankenstein. While the corpse may have its fluids replaced in technicolor to be paraded around in chromes and newfangled chemiluminescence, it's the activation of this new deployment of means, materials, not just silver paint but making the silver paint shine like candied yams. Painting a vehicle to showcase silver paint, for trippy material fetish. This song and dance is actually a visual pleasure of a long dead corpse embalmed really well.
See too: Albert Oehlen at New Museum, Raoul De Keyser at Inverleith House
