Perhaps stronger conceptual forebear than the Supports/Surfaces group to the likes of Dianna Molzan for whom Hainley gave the lovely description of "voguing their structure" i.e. striking the poses of painting, brandishing its look, flaunting itself, but perhaps "
Deconstruction of the furnishing of painting" Mertz programmatic version -
"serv[ing] as an intellectual exercise, declining all conceivable cases of painterly possibilities, but lastly also becomes a physical exercise for the viewer since ‘the labour of the audience ought to be the same as that of the artist’" - best meets the definition given on Paris is Burning as "a kind of institutionalized showing-off."
