Is a finished painting a resolved problem, an unresolved problem, both, or neither? 
Can a painter's intent be irrelevant to the finished painting? 
Does an artist have the ability to change the meaning of any kind of symbol?
Can a painting have social or political impact, outside of it being used as propaganda, marketing, or of its exchange value?
Is narrative (linear or non-linear) always present, or is it optional in paintings? 
Is a painting more of an object, more of an image, or both in equal measures? 
Can a ready-made be a painting? 
Is painting (two-way) communication? 
Can the avant-garde be banal, or are the two mutually exclusive? 
Can a painting be the total sum of a painter's experience? 
Is a painter's philosophy always embedded in that painter's work? 
What does being a successful artist mean? 
Does painting always have an art-historical context? 
Are manifesto-based art movements still viable today? 
Are art movements created by artists, historians, critics, neither, or both? 
Are the qualities of abstract painting completely interchangeable with those of representational painting? 
Is magical thinking still relevant to painting? 
Is it preferable to show your artwork without selling it? 
Once sold, does a painting necessarily remain a commodity? 
Is the decision to be / become a painter a political one? 
Can a painting be independent of sociopolitical constraints (censorship, taboos, etc,.) ? 
Can the subject matter of a painting be independent of the painting's physical setting (gallery, museum, home, street)?
In the current art market, is being a painter an advantage or a disadvantage? 
Are the physical constraints of painting (i.e. materials, size, shape) an advantage, a disadvantage, or irrelevant to the position of painting in the larger art practice?
Is economic inequality beneficial or detrimental to the art market? 
Should the global art market influence your work? 
Is the range of possible interpretations of a painting related to an audience's positive response to it? 
Do you remember all your paintings? 
Do you see yourself as competing with other living artists?
Do you follow the work of other living artists?
Do you see yourself as competing with non-living artists? 
Do you consider yourself a part of a larger movement within contemporary art practice? 
Do you think your best work is still to come? 
Can a painting change the opinions of its audience?
Can a painting you make change your own opinion about its subject matter? 
Can another artist's work change your own opinion about something? 
Are titles relevant or irrelevant to the painter?
Is the exhibition space an extension of the painting, the painting an extension of the exhibition space, both, or neither?
Is having a recognizable visual style beneficial, limiting, or irrelevant to your ability to experiment?
Are titles relevant or irrelevant to the audience? 
Is a personal aesthetic style more than, less,than or equally important as concept? 
If working in a series, is the style, or the concept the connection within the series, or both?
Is appropriating another artist's work relevant, or irrelevant to originality?
Is defacing or altering another artist's work a creative act? 
Can audience be irrelevant to the meaning of a work of art? 
How aware should a painter be of references (cultural, historical, visual, etc) made in their own work?
Are references to the work of other artists relevant, or irrelevant to one's own painting? 
Are references to the work of other artists inevitable in one's own painting? 
Are references to the work of other artists desirable, or undesirable in one's own painting? 
Do critics contribute to the understanding of a work of art?
Should feedback from your peers influence your work? 
Should feedback from your audience influence your work? 
Should feedback from institutions (galleries, museums) influence your work? 
Is feedback from other artists more, as much, or less valuable than feedback from non-artists? 
Can a painter work outside of the influence of popular culture (film, music, etc) 
Does associating with prominent artists give one a better chance of achieving prominence? 
Is having an audience gained in a discipline other than painting (i.e. film, music) desirable, undesirable, or irrelevant to a painter? 
Does collaborating with other artists on the same painting dilute/compromise the quality of the painting? 
Does doing commissioned work dilute/compromise the quality of the painting? 
Does painting need a theoretical context in order to be experienced properly? 
Do paintings have any qualities that can only be appreciated by other (professional or amateur) painters? 
Does a painting always have to deal with the meaning of materials that make it up (whether acquired from history, or implicit symbolism), or is it optional? 
Does the artist's signature on the canvas affect a painting's meaning? 
Does introspection play an important part in a painter's work, is it trivial, or irrelevant? 
Does making paintings have a therapeutic role in a painter's life? 
Which is more conducive to working: living in your studio, having studio at home, or having the two completely separate? 
Is it preferable to discuss your work on a technical level, on a conceptual level, equally so, or not at all? 
Is being a teaching artist mostly beneficial, mostly damaging, or irrelevant to a painter's artwork?
Is writing about one's own work useful, counter-constructive, or irrelevant to a painter? 
Is writing about one's own work useful, counter-constructive, or irrelevant to a painter's audience?
Is the nationality, race, gender, or ethnicity of a painter always relevant to that painter's work?
Is the nationality, race, gender, or ethnicity of a painter always relevant to that painter's audience? 
Is being an experienced painter relevant to making good paintings? 
Is originality of concept essential to a good painting? 
Is originality of aesthetic style essential to a good painting? 
Does emotion play a part in a good painting? 
Does chance play a part in a good painting? 
Do global or local politics play a part in a good painting? 
Does beauty play a part in a good painting? 
Is the quality of a painting related to the amount of intellectual effort invested in it? 
Does intuition play a part in a good painting?
Is the quality of a painting related to the amount of physical effort put into it?
Does philosophy play a role in a good painting? 
Does inspiration play a part in a good painting? 
Does humor play a part in a good painting? 
Do words play a part in a good painting? 
Does history play a part in a good painting? 
Is the ability of the painter to draw and paint from life important for a good painting? 
Does virtuosity (technical ability) always, more often than not, less often than not, or never play a part in a good painting? 
Is the range of possible interpretations of a painting related to the overall quality of the painting? 
What are the three best paintings ever made? 
Does art have a static definition, one independent of cultural background?
Is all art autobiographical? 
Will painting always be a relevant form of expression?