artists signed their work in order to own it, to stand behind it, to create continuity, to advertise themselves as professional artists. they stopped signing their work because the text distracts from the image, because the work can stand on its own, because artists love mystery and hate professionalism. or, if we we give agency to institutions, who today are the stewards of attribution, we could say that the professional artist is forced to accept these terms, to remove their name from their work, to rely on the institution's paternalism, without which they would be, ideally, perhaps, from the institution's point of view, completely anonymous. the ideal artist is a child of about 2 years, making muddy abstractions, each indistinguishable. only the parent, the caretaker, the teacher knows which is which. the bored yet motivated, manic teacher who can project onto these paintings a compelling narrative. of course to say this is the ideal is like saying ai is the ideal. there also needs to be the friction of mortality, wasted youth, tragedy, there needs to be adulthood to be taken seriously. this is where the name returns, to mark not only potential but limitation.