As I see it, the particular strategy that Eisenman may use in his architectural practice, is less important than the theoretical problem he recognizes and that I will outline in a moment. Although here I am presenting an architectural scenario with ingredients I think of as ventriloqual, Eisenman's issue is one that artists often face and have faced, not only in periods of modernism where originality is stressed, but at times when expressionism is undervalued. Artists, some artists, may turn away from what they "feel" or who they now are, in order to produce something that does not reflect, that fails to express, the artistic schooling from which their careers most often begin Of, more generally, the background that constitutes their personal ives. Of course, not everyone who does this needs a conscious strategy to confront the issue articulated by Eisenman. But in architecture especially, the problem I now hope to detail is particulary acute.