In 2004, the Swedish painter Mamma Andersson was included in a show at LA’s Hammer Museum called “The Undiscovered Country,” which explored a postmodern take on representation described by curator Russell Ferguson as a strategy of “painterly ambiguity.” At the time, Andersson was not well known in the States, yet it was immediately clear that her paintings epitomized an approach to form that could be characterized in Ferguson’s terms: Old dichotomies of abstraction and figuration had been erased, and art history had become available as a kind of stylistic smorgasbord to be drawn on at will.