In continuation of the Uncontrollable Beauty series, artist, critic, and poet Marjorie Welsh comes to terms with the with the word beauty in modern times. She aptly states that today it has come to mean “nothing - or everything", and with a world built upon “liking things”, beauty can mean nothing since a person’s individual taste is irrelevant to culture. She states the historical idea that beauty can universally define art is something we can easily contest, particularly in the case of aesthetics. In referencing the work of fauvist painter Henri Matisse, whose radiant colorations are an aesthetic of vitality, she explains how his very use of vitality challenges the idea of beauty, as it is known. By creating a work that is sketchy and unpolished, it ultimately represents nothing like nature, derails the concept of beauty through expression, and thus form heightens itself over classical beauty. Welsh also addresses Marcel Duchamp’s Three Standard Stoppages, 1913-14, which in itself directly references the notion of beauty. In doing so, he raises issues crucial to the debate on the nature of the art object and imagination. In each their own style, both Matisse and Duchamp employed strategic aesthetics that signify modernity. And in essence, she is showing us that an artwork of modernity is always made to invoke contradictory codes of beauty in some form.