Greenberg suggested that instead of laying paint on top of the canvas, if paint was stained into the weave the canvas itself would then become the painting, both object and image. The artists of Supports/Surfaces took that kind of thinking one step further by simply by presenting the support as the work, or by presenting a grid as a kind of image of the support.
But maybe what matters is not so much the drive to analyze and reduce, and the sense of necessity that compels reduction, as whether the artist has found that simple means, such as straight lines and right angles, can be used to make expressive works. There is a negative or critical moment, and a positive or expressive moment. Perhaps the first is the provocation of the past, the second the invitation of the future.