This body of work takes its title from Christopher d'Arcangelo's Unauthorized Performances (1975–78), a series of interventions in which he removed paintings from museum walls, questioning how display and context shape the visibility and meaning of artworks.

Here I examine how visibility is produced through layering, concealment, and repetition. Each painting begins with a charcoal drawing of a bouquet based on an image by Christopher Williams dedicated to Bas Jan Ader and Christopher d'Arcangelo. The charcoal drawing is gradually veiled by translucent layers of colour inspired by Thomas Gainsborough, particularly his landscapes, allowing the underlying drawing to remain only partially visible.

The series brings together references to artists who occupy very different positions within art history: Christopher d'Arcangelo and Bas Jan Ader, whose practices and lives are characterised by disappearance and incompleteness, alongside the canonical position of Thomas Gainsborough and his landscape paintings, one of which was the subject of d'Arcangelo's intervention at the Louvre, where he questioned how the placement of an artwork determines its visibility. In doing so, the works explore how dominant and marginalised narratives can coexist within the same pictorial space, neither fully replacing nor resolving one another.