ABSTRACT
Installation art might not lend itself as readily to retelling Freud's insights in terms of, and as analogous to art as Picasso's painting, Les Demoiselles d'Avignon, with which this book began. Nor may installation art lend itself as readily as Picasso's drawings — his crayon drawing, The Painter and his Model (dated 4 July 1970), for example — to likening the relation of the artist to what they paint to the Freudian analyst's relation to what they analyse as I have pictured here (Figure 14.1).
