This evaluation of both visual and
bodily experience via materials and space has a precedent in work of the 1960s and 1970s, something well understood before the mid - «60s, when dogmas hardened around different styles like Pop, Minimalism, Color Field painting, etc..
Further, (2) perceptual,
bodily processes are basically unintelligible because, according to the classic «form / matter» analysis,
experience consists of a synthesis of intrinsically meaningless physical sensations passively received
via the sense - organs — the «matter» — together with an active, reflective, mental judgment — the «form» — which interprets them.