Daniel Dezeuze's work has been featured in numerous exhibitions, primarily in France. In 1980, his art was part of the "Ateliers 81" exhibition at the Musée d'Art Moderne de la Ville de Paris. The museum hosted his work again in 1983, as part of "True et troc, leçons de choses". Dezeuze had one-man shows at Galerie Farideh Cadot, Paris, in 1981, 1983, and 1985. His art was the subject of a solo exhibition at the Musée de Toulon (December 1982 to January 1983). His pieces have appeared in group shows such as the 1984 "French^[1] Spirit Today" (Fisher Art Gallery, University of Southern California, Los Angeles, then the Museum of Contemporary Art, La Jolla, California) and the 1985 "Manipulated Reality: Image and Object in New French Sculpture" (Frederick S. Wight Art Gallery, University of California, Los Angeles). Also in 1985, his work was included in "Soyons sérieux" at the Espace Lyonnais d'Art Contemporain, Lyon. These are selected examples; more exhibition details are available in museum catalogues and art publications.

Daniel Dezeuze is associated with the Supports/Surfaces group of French^[1] artists, active in the late 1960s and early 1970s. The group questioned traditional artistic conventions. In general, prints are considered original when the artist creates the master image, oversees the printing, and approves the finished product. Each print in a numbered edition is considered an original, individually inked and pulled from the matrix (plate, stone, screen, or block). The artist determines the edition size, and numbering accounts for all prints (for example, 12/25 means it is print number 12 from an edition of 25). However, the definition of an original print can be ambiguous. The market considers individual execution to be the most important criterion for originality. Some variation is acceptable in prints, so long as the principle of originality is protected. Many well-known photographers do not print their own photographs; however, a signature acknowledges the work conforms to their idea.

Daniel Dezeuze came to attention as part of the Supports/Surfaces group in France during the late 1960s and early 1970s. This collective questioned the nature and function of painting, moving away from traditional canvas and exploring materials like fabric, netting, and simple frames. Dezeuze's work is significant because it challenges conventional ideas about art. He deconstructs painting to its basic elements, examining the support structure and surface. His pieces often feature raw, un stretched canvas or simple constructions, which invite viewers to consider the physical properties of the artwork itself. This approach connects to broader discussions about the art object and its relationship to the gallery space. His practice also relates to conceptual art movements that question artistic conventions. By stripping away ornamentation and focusing on essential forms, Dezeuze prompts reflection on the definition and value of art. His work remains relevant in contemporary discussions about minimalism, post-structuralism, and the ongoing evolution of artistic media.

Daniel Dezeuze is associated with the Supports/Surfaces group, and his practice often involves a deconstruction of traditional painting. Rather than using canvas stretched on a frame, he often employs simple, industrial materials. Dezeuze's work frequently incorporates elements such as wooden stretchers, mesh, and cloth. These materials are sometimes combined with simple processes; for instance, folding, crumpling, or staining. His methods draw attention to the physical properties of the materials themselves, rather than creating an illusionistic image. Technique, for many modern painters, is more than just a method of execution. It involves the artist's intentions and a recognition of the physical constraints of the medium. Dezeuze's choices reflect a desire to move away from traditional painting techniques and explore the essential components of the art object. By using non-traditional materials and simple processes, Dezeuze challenges conventional notions of painting and its construction.

Daniel Dezeuze is associated with the Supports/Surfaces group, active in France from 1969 to 1972. This group questioned the nature and function of painting, moving away from traditional easel painting. Their experimental methods included using non-traditional materials and exploring the physical properties of the canvas itself. Identifying direct individual influence is difficult, but Dezeuze's approach to deconstructed painting and his emphasis on materials resonated with other artists exploring similar ideas in the late 20th century. His work contributed to a broader shift in art towards process-based and conceptual practices. Artists associated with Arte Povera in Italy, for example, shared an interest in humble materials and a rejection of traditional artistic conventions. Dezeuze's influence is thus best understood as part of a wider international movement that questioned the established norms of painting and sculpture.

The question of artistic influence was a live issue in the mid-19th century. Writers and artists struggled with the idea that originality was next to impossible; as one writer put it, 'The imitator’s imitator finds his own imitators.' Some theorists claimed that true artists were never influenced, and that 'all flourishing is spontaneous, individual'. However, others took a more practical approach. In Balzac’s *Lost Illusions*, a character named Daniel advises an aspiring novelist, Lucien, who is imitating Walter Scott. Daniel suggests that Lucien develop his own individual style, rather than simply copying Scott. He goes on to disparage Scott, claiming that Scott’s heroines all derive from Samuel Richardson’s Clarissa Harlowe. Lucien then responds to Daniel's warning against copying Scott by copying Daniel instead. In this way, originality can define itself as the unique intersection of multiple influences, a combination that one artist alone can accomplish.

It is difficult to name Daniel Dezeuze's single 'most famous work'. He is best known as a member of the Supports/Surfaces group of French^[1] artists, who questioned the nature of painting in the late 1960s and early 1970s. Dezeuze's works from this period often involved deconstructing the traditional canvas. He created pieces using simple materials such as wood, netting, and fabric. These were often displayed unstretched or unframed. This approach challenged the commercialisation of art and questioned the illusionistic nature of painting. His work aimed to expose the structural components of art, rather than creating an illusion. Later, Dezeuze explored other media, including watercolour and drawing, and incorporated representational elements into his art.

Daniel Dezeuze is associated with the Supports/Surfaces group, which emerged in France during the late 1960s. This movement questioned the fundamental conventions of painting. Rejecting traditional easel painting, Supports/Surfaces artists deconstructed the components of a painting: the support (canvas), the stretcher, and the surface. They separated these elements and experimented with them individually. Dezeuze, for example, worked with simple materials such as wooden frames, netting, and fabric. The group's activities coincided with a period of social and political upheaval in France, including the events of May 1968. Supports/Surfaces shared a critical stance towards established institutions and traditional artistic practices. Their work can be seen as a form of artistic and political activism, challenging the commercialisation and commodification of art. While the group was active for a relatively short time (roughly 1969-1972^[1]), it had a significant impact on the development of contemporary art in France and beyond. Supports/Surfaces contributed to a broader re-evaluation of the nature of painting and its relationship to the social and political context.