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Joseph, you are welcome to define it "Europen", if you wish: that’s a compliment for those of us who were born on this ancient continent, but the paintings of the authors I recommended to view are postmodern only in their being "post postmodern" and therefore "neo-baroque", as the author itself describes his work and has the critique confirms for the presence of neo- decadent aestheticized elements . For those who have experience of the baroque in city architectures, churches and buildings, like we do, here, in the low parts of Europe (imagine how present ios Baroque in Naples!) or furniture,(my mother's old dining room was all baroquesque) for instance, there is not a glimpse of a doubt that the manneristic and honeyed kitsch in the paintings’ compositional elements are firmly carrier of a baroque discourse which mocks the post-romantic pose and it prefers to it the mask,the sentimental, the nauseous pose, aiming to state a posture rather than suggesting ideas (as postmodernity does, in its critical adaptation of past styles and the blending of all of them, as in Umberto Eco’s work and theories). As I said in one of my previous posts, some male-transexual performances their “travestimenti” are utterly neo-baroque in their being outrageously provocative towards the gender establishment (there is no strong critique of the class struggle, as I pointed out, nor a consciousness that goes towards the political in an overt way. If postmodernity goes to the very core of the XXth century marxist critique to capitalist society (and therefore to class struggles and clash of ideologies), neo-baroque is beyond all this. That’s why the king (or better the Queen) of the neo-baroque is Elton John who spends 2000 dollars a day in flowers and sheds 2000 tears at whoever funeral, sobbing aloud. To exploit the Elton John's subject further, more neo-baroque that any think is indeed his Aida, especially the central scene of the Princess’s fashion show: the adaptation itself of Verdi’s Aida (which in itself was already rather kitsch for its interst in the exotic) into a Broadway musical (which I had the fortune to be invited to, while in NY and which made me leave the theatre with a knot of baroquesque emotions in my throat, leading to tears). A neo-baroque work, in visual art, is not as layered as a postmodern one: it enjoys superficiality and the provocations relies on this kind of irritant effect. But please, note: these definition are mine, I am not quoting any critic of aesthetics, therefore I am the only one who should be held responsible of my own words and definitions here. I would like to conclude my post thanking the Mighty Lord Jesus, the Holy Mary and all the High Rows of Angels and Archangels that Old Europe has this passion for infinite sub-definitions . Erminia