This is a great article by Rosenberg about how when action painting first became a concept it was widely dismissed by American intellectual society. The general population insisted it was simply a throwback of the Impressionist Paris School and wasn’t to be looked upon as anything new and innovative.
Rosenberg argues that action painting is in fact something unique, in itself, in that the art becomes not a depiction but an object itself. I personally see it as a fusion between painting and sculpture—the painting acts as a piece, an object, rather than a story or a message.
Nauman, My Last Name Exaggerated Fourteen Times Vertically, 1967
Nauman, Dance or Exercise on the Perimeter of a Square, 1967-68
Hesse, Accession II, 1967
Serra, Hand Catching Lead, 1968
Matta-Clark, Splitting, 1974
Ruscha, Every Building on the Sunset Strip, 1966
LeWitt, Wall Drawing No. 146, 1972
Andre, Magnesium Square, 1969