Art made around 1970 is often said to disregard the pictorial by centring on found objects or conceptual strategies. By focusing on the recurrent motif of minimalization and impoverishment in the art of this period instead of its ‘new forms’ and ‘strategies’, another, less hostile relationship to the pictorial occur. Focusing on the images that paradoxically arise in ‘poor’ or withdrawn art can further change our understanding of the renewed interest in images in late 20th century academia. Rather than an academic ‘project’ regarding our methodological approach to visual phenomena, the ‘pictorial turn’ could be described as an effort to promote the idea of ‘natural images’ over the idea of Art as a primary, if not exclusive, image source.