Not quite Hector, when a painting is hung, it offers one single view, a view that is seen by all. However, when a bonsai is displayed, it offers many views as explained in the article. (You did read the article, right?)
A painting, being a two dimensional representation of three dimensional objects, can be viewed from slightly to the left or right, it can be viewed from slightly below or above center, nothing changes.
With a three dimensional object such as a bonsai, these slight variations in the viewing angle can bring out a whole different "tree" or "front" if you will. To not recognize this fact, to assume that everyone will see the exact same front, at the exact same angle, is misleading. The front we show in a photograph does not exist in real life for all intents and purposes.
Of course, we could always put a view finder and cross hairs on every bonsai display, as I did with Vance's Mugo on the first picture in the article. This should satisfy everyone and possibly force the artists front to be the only one viewed. However, knowing people, they will look behind the curtain anyhow.
To reuse a recent quote from a very talented artist, in Bonsai Today issue #101 on page 51 in an article by Marco Invernizzi titled "Transforming a Scots Pine" Marco says, "Have you ever wondered why Japanese bonsai lovers at bonsai exhibitions are not content to observe trees from the front only? They want to see then from all sides, and you will often find them squatted under a bonsai trying to see all the details."
He goes on to say, "The real beauty of bonsai can be found in the details and in the naturalness of the planting. Sometimes in our passion to see results, we end up with a tree that has all its branching and foliage arranged to be viewed only from the front. As soon as you look at another angle, you see large gaps or tangled branches."
You see, the concept of three dimensional bonsai and multiple fronts is not a new idea born of my untalented mind, it is in fact an old school of thought which, like it or not, is being put in to practice by some of the greatest bonsai artists of our time. Walter Pall, among others, regularly produces world class trees with many multiple fronts.
Granted, it is extremely more difficult and it requires much more talent, but it is not unfeasible, impossible, or out of line, it works, it has merit, and the results from those who keep these principles in mind are nothing short of breathtaking.
The proof is in the results.