Den pågående revaluering af Baronessen, Elsa von Freytag-Loringhoven er symptomatisk nok ikke særligt motiveret af  “det tidligste readymade”, men snarere af hendes performative praksis och “allografiske strategier” rettet mod kunstværkets og kunstnerens hypertrofier. Baronessens sceneløse performativitet peger mod en helt anden kunsthistorisk vektor, og artikeln foreslår at denne vektor, når den bliver inkluderet i billedkunstens iboende “autografiske” modalitet, vil have vidtgående konsekvenser for kunstværkets status (henimod en affektiv dokumentalitet) og det “forfatterfunktion” (henimod en ambivalens med hensyn til subjekt-objekt positioner).

The emerging revaluation of The Baroness, Elsa von Freytag-Loringhoven is surprisingly not driven by any alleged 'first readymade', but rather by her performative practices and in-real-life behaviour as "allographic strategies" against the hypertrophies of the art work and the artist. This performative mode points at altogether different art historical vector, a vector than stems from the Berlin cabaret scene and gives a partial explanation to the otherwise inexplicable recent interest in Aby Warburg's Mnemosyne project. It is suggested here that when allographic practices, together with the recent focus on performativity, are included in the context of the intrinsic "autographical" character of visual art, will have far-reaching consequences for the status of the art work (towards an affective documentality) and its "author fuction" (towards an ambiguity with regard to subject-object positions).