布萊斯﹒馬登 (BriceMarden, 1938~) 在1960年代末期開始作畫，被視為「低限主義派」，他很快就反對西方後現代主義者認為「繪畫巳死」的觀念，並轉向中國書法尋求靈感，以復甦裝置於牆面之畫面觀念，作為繪畫之特徵。依照克里蒙﹒格林堡(Clement Greenberg, 1909~ 1994)的形式主義藝術批評，以牆面為畫面根基的概念，意味著完全平面、非三度空間幻覺的圖畫表面，其典型為美國抽象表現主義畫家波洛克(Jackson Pollock, 1912~1956)在1947~1951年間的壁畫式大尺幅油畫。格林堡的理論在1940年代末開始成為當代藝術論述與實作中最具影響力的說法，直到1960年代末才被質疑。馬登多方嘗試西方古典與現代藝術'又穿越一般看法中隔絕東方藝術之牆，從中國詩與唐代壁畫中的舞者，以及蘇州園林的湖石中汲取靈感。他重新發掘藝術史，因而重新解釋現代主義對畫面如牆面的譬喻，創造東方與西方之間的物質與心靈主動。相對於現代主義與後現代主義對繪畫的教條，馬登將不同的繪畫文化放在不容質疑的畫面空間，將世界的內容再度引進藝術的範疇。

Brice Marden (b. 1938) began his career in the late 1960s as a “Minimalist” painter, but he soon reacted against the Western post-modernist idea of “the death of painting" and turned to Chinese calligraphy to revitalize the idea of the picture plane mounted on the wall as the most distinctive element of painterly art, an idea referring to the allover flat, non-illusionist pictorial surface which is epitomized by Jackson Pollock's mural-sized paintings (1947-1951) according to the formalist art criticism of Clement Greenberg (1909-1994), influential in discourses and practice of American art from the 1940s until it is discredited by the late 1960s. Having journeyed from Western classical and modem art through the wall supposedly separating Eastern art, Marden was inspired by Chinese poetry and dancers depicted on the walls of the Tang period and garden rocks of Suzhou. He reinvented the modernist wall metaphor in the sense of pictorial depth and created a vision of material and spiritual transaction between East and West through rediscovery of art history. Vis-a-vis the modernist and postmodernist dogmas in regard to painting, Marden let the world in again by bringing together different pictorial cultures into the indisputable space of the picture plane.