“Allover abstraction is fundamentally monotonous. As Greenberg saw the painting he championed, the lack of a center, corners, and figure/ground relations embodied capitalism’s hyper-materiality. This “polyphonic” art was a vision of a world of either total democracy or total exchangeability, depending on your point of view. Metaphors of the horizontal and allover have only become more compelling since the 1940s, moving from Greenberg to Deleuze to the Internet; abstraction by the yard, with its tight imbrication of self, market, and materiality, still almost automatically raises interesting questions.”