PARAGRAPHWhen, at the end of the essay, he addresses the way frottage complicates the already fraught relationship between the real and its referents, the analysis seems firmly grounded in the work. From art historical literature, it would seem this is a common problem in the consideration of senior artists. While it is most probably unintentional, the authors impart the sense that Ferguson responded extensively to external conditions and other artists when he rose to prominence in the late s and even through the s but that now he responds primarily to himself and to his own practice. Catalogues are not the obvious place for comparative criticism, but a notable absence in these discussions is another senior Canadian artist, Betty Goodwin, whose prints of clothing may not follow exactly the same method stamping rather than frottage, print rather than paint but whose process is not far off and produces a remarkably similar aesthetic. With a glance at biography B there have been two recent biographies B she offers readers her most autobiographical narrative to date, which makes sense, given the topic of the lectures and this volume.