In a cultural context in which the model for painting is fundamentally expressionist (the salient references being Asger Jorn and Per Kirkeby)—recent attempts to break free of this model have generally revolved around video and photographic work that often leaves the expressionist paradigm intact (if tacit)—any attempt to articulate an alternative model for and through painting is bound to seem questionable. Although “Fielding” included artists from France, Germany, Denmark and the Netherlands, I was not entirely surprised when a Danish artist referred to the exhibition as “that show