Fudge's sense of himself as an outlaw artist was reinforced throughout his time on the road in California. The art critic's discomfort in discussing Fudge is compounded by the lack of any coherent statements about his intentions or purposes. As detailed in the Malvern Report, he received help from Michael Craig-Martin and Jon Thompson only to destroy their efforts with his anti-art gestures, which he carried out with impunity. From the outset, he sought to undermine the 'art' inquiry, potentially obstructing his destiny, and without consequence. By asserting his independence, he has denied himself the profits of the art business and thus delayed the ability of the art market to do business with him, again without consequence.

I would argue that Fudge sees himself as a maverick, which has been reinforced by his travels across the American deserts. The absence of any clarification from the artist, or from any of the works in this exhibition, reinforces the critic's unease.