Food, I propose, has been a particularly appropriate fringe art activity because the growing, preparing, offering, eating of and the cleaning up after food have always operated under the same rules, the same dynamic, as the exchange between artist and viewer that characterize contemporary art. By merging the two we simply overlay one language on top of another revealing to ourselves hidden synonyms and symmetries. In so doing we nearly double our employable language for understanding each operation, gaining new ways to speak of and therefore understand food and art.