Abstract/Summary

This article considers the work of the late Swedish painter Dick Bengtsson. It is conceived in an attempt to locate Bengtsson’s complex use of surface beyond the discourse of ‘sign games’ that has largely surrounded his practice to date. In addressing the limitations of a postmodern agenda concerned with Bengtsson’s prowess as a particular type of conceptual artist, this article explores his use of materials within individual artworks to elucidate less developed dimensions within his production.