In this post-Conceptual era, when most seemingly moribund painting justifies itself by playing the role of elegy for a “dead” Modernism, many artists have resorted to resurrecting and revising esthetic tenets from the past as a catalyst for propagating the “continued progress” of art itself. As a result, much post-Modernist pluralism, with its connotation of repairing the mystifications wrought by Modernism, is defined by the very same dubious ideology of the progressive avant-garde that it purports to deconstruct. Such contradictions are clearly born of a creative and ideological impasse: the