Josh Smith’s Untitled uses assemblage as a means to engage with painting. Layering found papers and photocopied drawings, Smith pastiches together a composition reminiscent of the Cubists’ fractured planes. Wittily subverting Picasso and Braque’s innovation of collage as a tool to confront and disrupt the illusionary quality of the painted surface, Smith uses the technique as a paint substitute. Shape, colour, texture, and form are delineated by planar surfaces, each garnered from mass produced sources. In Smith’s abstraction he removes idea of personal expression, replacing painting’s psychological depth with a reprographic generic.