Often we think about and experience art through the structures of cause and effect. Art, it seems, easily slips into being understood as an effect of some prior cause: the artist is perhaps the most basic causal beginning, and also—digging deeper—the artist’s intention, mental health, personal interests, social and economic biography, and even their presumed ‘bio-sexual’ status can also be brought forth in order to explain and understand the artwork. The artwork is then conceived as an effect of these causal structures. Another common strategy is to align the artwork within a socially accepted (and constructed) narrative: the long chain of art-historical connections, progressions and causes, effects, negations, explorations and critiques, which become part of an accepted drama within which formal qualities as well as conceptual tendencies can play a part.