Working with the formal components that have played a central role in the history of painting, such as perspective, illusionism and the grid, Anthony Burnham investigates the possibilities of
painting as a conceptual practice. Burnham's paintings seems to conjure the question formulated by Jean-Fran癟ois Lyotard: ��hat to paint?��What is there left for painting to say, and how can it
say it? Burnham's works offer much opportunity for reflection on these questions, as there are the products of a painting practice that is, at heart, a conceptual activity. The essayists offer
numerous insights into Burnham's analytical approach to painting in this post-modernist era and provide a theoretical and historical context for the reception of his work.
