The "Ingresque" portraits Picasso began to produce in 1915 may be understood, Krauss suggests, as a "
reaction formation" (Freud's term) to the success of the new technological art that came into its own by the mid-teens, specifically, the new status of the photograph as an art medium along with the new machine art exemplified by Picabia's mechanomorphic drawings.
Conveyor belts, wheels, pulleys, lathes, millers, routers, gears, grindstones, drill presses, resistances, projections, introjections, regressions,
reaction formations, sublimations, fixations--all busily processing "traumas" into "symptoms" and "symptoms" back into "traumas": Freud's Unconscious was a factory floor in the Age of Industry.