| Classification : A170-A180-A210-B230-C110-D115-D160 The classification provides four or more codes placed on four axis (A - formalism, B - matériality, C - involvement body/mind, D - communication). These codes are positionning the artist in the art history.
A axis : FORMALISMWhen looking at the work, what type of formalisation first strikes the eye? Is it more abstract or more figurative, etc ? (on a scale from more "immaterial" to more "realist"). A170 : Abstracts mixed (between constructed and not constructed) from "Field Painting" to "Abstract Expressionism"; taking over the pictorial space by pushing forward the limits of "all over" (Mark Rothko, Jackson Pollock, J.P Riopelle, Joan Michell, Judith Reigl, …). A180 : Abstracts not constructed / informal material / splodges from the most "Nuagist" to the most "Matter informalist" all types of play on the subtle properties of the painting medium and its coloured spaces (Zao Wou Ki, Sam Francis, Ben-Rath, …). A210 : Abstracts with signs The work as a whole remains abstract but includes (or consists entirely of): signs forming writing: writing without meaning the sign as an abstract shape placed in the composition of the pictorial space (R.Motherwell, Giuseppe Capogrossi, Christian Dotremont, Cy Twombly, ...).
B axis : MATERIALITYHow does the materiality of what is shown come across? (on a scale from more "immaterial" to more "real"). B230 : Materiality in painting, but also with all other materials with the following possibilities: Structured structured combinations any combinations of lines, colours, matter or volumes of a more structured type (Michail Heizer, Anish Kapoor, Miguel Barceló, ...).
C axis : INVOLVEMENT BODY/ MINDWith what body:mind ratio does the artist enter into his work? Classify from the most "intellectual" (e.g."Concept Art"...) to the most "physical" (e.g. "Body Art", ...). C110 : towards the intellectual side/ the essence of things conceptual levels specific questionings from Bruce Naumann to Daniel Buren; the "Art System" questions its own foundations or its history (C.M Mariani, Wim Delvoye, Komar et Melamid, ...).
D axis : COMMUNICATIONDoes the artist have the deliberate intention to convey a message of any sort through his work? (classified from the most "mystical" to the most "worldly"). D115 : via what is meant in various narrations or symbolisms whatever they may be allegorical, metaphorical (J. Beuys' "materials", ...), analytical (Mario Merz's "Fibonacci series", or those of Robert Filliou, ...), critical (from Henri Cueco to Hans Haacke or Guillaume Bijl, ...). D160 : via what is meaningful based on the idea that work on what symbolizes forms an intentional message in itself (for example: Daniel Dezeuze's "Stretchers", etc., etc., ...). when the object is significant in itself from Marcel Duchamp's "Fountain" to Manzoni box of "the artist's shit", or Jeff Koons' "vacuum cleaners", ... | 
