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Since the Renaissance, painting has often been likened to a window upon the world, with central perspective giving the viewer a sense of surveying what is contained within the picture frame. In a bold gesture, Art & Language turn this century-old convention upside-down by replacing the painting’s surface with a mirror. Rather than look at an image of the artist’s making, viewers are now confronted by themselves, thereby questioning a long-held notion of painting transcending reality.

April 2009