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All cultural expression is determined to some extent by the institutional norms ruling the particular time and place in which such an expression occurs. This thesis, along with the exhibition that shares its name, aspires to reassess the academic motivations that dictate artists’ access to certain forms of labor. After a brief analysis of the recent history of the prohibition against training to paint, I argue, with the help of documentation of my thesis exhibition, that despite its posturing to the contrary, the most recent wave of incredulity toward the corporeality of a painting body is just as arbitrary and ideologically suspect as any other regime that has presumed to dictate the rules of art.

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