The fundamental divide in the Twentieth Century art concerns the artist’s intentions and their determinants. One camp, led by Duchamp, maintains that intentions are irrelevant; the other, led by Mondrian, Kandinsky, and Malevich, maintains that they are central. These two positions are fundamental in the sense that they are irreconcilable, that is, irreducible to a common base. Artists themselves must discover or decide to which camp they wish to go. As for myself, I am squarely with Mondrian, Kandinsky, and Malevich.