在創作傳統繪畫時,藝術家通過親手完成最終作品體現其作者性。斯丁格爾始終參與了他的多步驟作品的構思,但創作過程中的每一行動都是由其他個體牽頭:觀眾首先集體參與對面板的標記,然後由工匠 Jan Eugster 鑄造複製版。當前作品中不含斯丁格爾的手跡,對作者性的概念以及第三方參與的意義提出了拷問。斯丁格爾並沒有專注於最後的鑄造成品,而以最具包容性的方式呈現藝術、為觀眾提供了另一種觀點:將意圖與合作重新定義為藝術的最重要構成。《無題》之美不在其光澤,而在於通過把玩藝術流派及定義的邊界,對繪畫的可能性進行重新定義——單數及參與同在,短暫與永恆並存。
Rudolf Stingel came to prominence in the late 1980s for his insistence on the conceptual act of painting in a context in which it had been famously declared dead. Despite the prevailing minimalist and conceptual narrative of the time, the Italian-born artist sought to confront the fundamental aspirations and failures of Modernist painting through the very medium of painting itself. While his works do not always conform to the traditional definitions of painting, their attention to surface, space, color and image provide new and expanded ways of thinking about the process and "idea" of painting. Central to his multifarious and prolific oeuvre is an examination of the passage of time and the probing of the fundamental questions of authenticity, meaning, hierarchy, authorship and context by dislocating painting both internally and in time and space. Stingel is best known for his wall-to-wall installations, constructed of fabric or malleable Celotex sheets, as well as his seemingly more traditional oil-on-canvas paintings.