All paintings used to be framed; now very often they are not. For hundreds of years, painters very carefully chose frames as the final punctuation mark on their work. Beyond their basic function of ease of mobility or protection, frames demarcated a painting as something set apart from the rest of the world. But as the religious, moral, and societal boundaries of the West were transgressed and ultimately erased, so too was the picture frame. The stripping of frames reveals the changing function of art and our shifting attitude towards it, from something truth and beauty-bearing that should be protected by a boundary, to something that can be trampled, abused, and eventually made totally pedestrian.

Sources:

• The Frame Blog: How the Pre-Raphaelite's influenced Impressionist Frames, https://theframeblog.com/2017/07/25/how-pre-raphaelite-frames-influenced-degas-and-the-impressionists/

• Art Journal: Branislav Jakoljevic "Unframe Malevich!: Ineffability and Sublimity in Suprematism," https://www.jstor.org/stable/4134488?seq=10

• The Guggenheim on Malevich: https://www.guggenheim.org/exhibition/kazimir-malevich-suprematism-2

• Christie's Article: https://www.google.com/url?q=https://www.christies.com/en/stories/andrew-graham-dixon-to-gild-or-not-to-gild c697b68a137646d0a67bbab5d18739ac&sa=D&source=docs&ust=1781893410661518&usg=AOvVaw3vYmn8gXLAGBuZKaf1xFyW
  -https://news.artnet.com/art-world/contemporary-frames-2622949

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