As her title suggests, Hutton perceives the work as a meta-response to three influential conceptualists of their time- both Kaprow's Some Statements on Happenings and Lewitt's Sentences on Conceptual Art provide an art-making model for Hutton to frame her work within, while Baldessari's 1972 performance of Lewitt's Sentences (entitled Baldessari Sings Lewitt) references a process of appropriation and conceptual restructuring apparent in many of Hutton's processes. The artist describes the piece's process as "painterly" in that: "I worked with truly artless deliberation, and then wrangled the results into a cohesive digital form." While such a method is typical to many artists' process, in Actions, it becomes central to the function and delivery of this piece.

Actions operates as a meditation on working between a limited system, established by Kaprow's and Lewitt's works - and between the set geography-of Hutton's hometown, Mission Beach. In a sense, Hutton's process of gathering information, followed by organizing it, can be seen as an attempt to inject a level of chaos into Lewitt's rationalized Sentences. Indeed, by taking a deliberately chaotic approach to assembling material, Hutton inverts Lewitt's sentence, "Conceptual artists are mystics rather than rationalists," and reclaims it so that: Lewitt becomes the rationalist, and Hutton the mystic. In this way, the digital medium becomes an opportunity for Hutton to revisit a past art practice, by reconceiving it through a new media.

Her work is not a transposition of old ideas into new technology; however, Hutton compares her process to a play or concert, where one might see variations between performances even though the same work and notes are performed. Even this analogy minimizes her own contribution within her media. It is better to consider the work's emphasis on the notion of 'place' - a development motivated both by the influence of Kaprow and by Hutton's own artistic interests - than to just examine it through Hutton's initial concept relating to process.

Hutton's use of the Mission Beach, given the work's immaterial presentation, is highly significant. The artist mentioned throughout that she was "trying to keep the audience close", however highly mediated documentation, does shift the viewer's experience away from her immediate activities and sense of place. This strategy seems reminiscent of work by Smithson and Long, both of whom required audiences to conceptually recreate the artists' activities through documentation. The means by which Smithson situated his work midway between presence and absence or construction is echoed not only in Hutton's re-presentation of a physical site through digital means, but in the numerous ways Hutton's images are modified, complicated, and compromised. Smithson's prolific use of language is also echoed in Hutton's appropriation of Lewitt, though her appropriated language is used as a means of privileging the digital process. While Hutton works with a gentle and often humorous touch, in striking contrast to Smithson's apocalyptic notions of regression and entropy, one can easily draw a conceptual parallel between the ephemeral nature of Hutton's digital presentation and Smithson's conception of language as a liable and fluid particulate structure.

That being said, one must be careful not to overemphasize either process or place in the function of the piece - the strength of Actions lies, in many instances, with the aggregate nature of Hutton's means and methods, from the appropriated to the recontextualization of works to form original expression. Hutton's process simultaneously implies a rigid formal method and the potential for infinite activity within her prescribed constraints; likewise, any accompanying notion of place exists, given the nature of her medium, in both entirely physical and entirely ephemeral conceptions. This seemingly paradoxical simultaneity, reminiscent, as Hutton notes, of Kaprow's ideas of interrelatedness, is what makes the work effective.

While the viewer can control the presentation of her work, the majority of what one might term 'interaction' occurs at a more conceptual level. Just as many of the images slide and foreground between disconnect frames, the interstices between pages highlight the shifting nature of the viewing experience - between physical and intangible, original and appropriated, preconceived and arbitrarily inspired. It is precisely this subtle interplay between artist, medium, and viewer, which adds dynamics the viewing experience. As Hutton wrote: "Perhaps one of the functions of art is that a new idea occurring in the observer's mind is just as important as the artist's intention or the material used to bring this about." I too would have to agree.