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The appearance of abstract art is virtually contemporaneous with Freud's own work. Freud, however, showed a gross misunderstanding of abstract art. In a letter to Abraham in 1922, his response to an abstract portrait of Abraham was to call it "horrible." He caustically suggested that such an artist might confirm Adler's theory that only a person afflicted by a grave perceptual defect would strive to become an artist. Psychoanalysis had certainly been no stranger to art, but art, as understood by Freud, was representational. It was always of something. What was interpreted was the content, the meaning which was given through the form. Abstract art, devoid of any such representational content, would seem to invalidate Freud's general approach. Kechickian argues that the problem has indeed changed, but that this does not invalidate the psychoanalytic view of art. Another approach becomes necessary. Abstract art is not a bearer of meaning already there. Rather, abstract art must be thought of as an object plus two subjects, the artist and the spectator. Such art is nonrepresentational. However, it is the product of human activity, an object produced by work. The artistic activity then becomes its own end, something which might be compared to the notion of games. Each work is productive of an original space. The colors and configurations vary from art work to art work. Hence the concepts of Winnicott on transitional space and transitional objects may be applicable. The author also refers to the work of Paul Schilder on body image. Schilder placed emphasis on a continuing process of internal construction and destruction, on the lability of the postural model. The spatializing activities of the artist in the construction of his object are then in a relationship with the variations in the configurations of his own body. For the artists with an abstract product, the goal is the moment the artist's senses work in equilibrium with the establishment of form