Throughout the history of painting specific artistic 'gestures' have been used to determine whether a work of art is valuable or worthless. The aim of my research is to locate where the value of a gesture in a painting lies in contemporary practice. A gesture can be found on the visual surface of a painting, as well as in a decision or ‘movement’ of an artist in their wider practice. Thus the value of a gesture becomes assembled through an array of contextual forces: the character and persona of the artist, the place in which the art object is exhibited, the materials used, and the artist’s cultural and real economic value trajectory. Important to my research will be to consider how the value of a gesture is affected by a contemporary expanded art practice, whereby an artist works across many mediums. Specifically I want to work out the implications of the recently coined term “aggregators” on contemporary painting gestures. The aggregate refers to a new value system whereby platforms create and accumulate value through assembling and re-distributing content, including institutions such as biennials, online announcement services, magazines and art fairs. Drawing lessons from historic feminist art practices which migrated gestures outside the confines of a canvas, and evaluating how gestures have been instrumental in codifying value throughout art history, my research will define how a gesture, found in an expanded and “aggregate” field, creates value in contemporary painting. Through my own expanded painting practice, which is centred on the consideration of gestures, my thesis will pursue and articulate the creation of a new value system for contemporary gestures in painting, tested across the fields of painting, printmaking, installation, curating, writing, editing and publishing.