Luke Skrebowski in The Vitality of the Accident: Francis Bacon’s Metamorphic Figuration argues that Bacon directly opposed the dominant Greenbergian doxa of his time, which prescribed abstraction and insisted that painting should progress rationally towards its own medium-specific “essence” by integrating accident into his figurative
working practice. He also challenged the residual humanism of the art institution that was still ensnared in a residual metaphysics that posited human beings as an“aeterna veritas,” a transcendent entity outside time and change. And he collapses Cartesian space.

This is argued for by examining Francis Bacon's Three Studies for Figures at the Base of a Crucifixion (1944)

Skrebowski says about the collapsing Cartesian space:

We peer into the painting’s ground and catch what appears to be a familiar geometry. Running across the panels, sketched in thin, blacklines, the contours of a room present themselves. Tracing the lines, we attempt to model the perspectival space of the painting. Scanning the panels we fix on the leftmost and reconstruct a garret. On crossing panels,however, we are frustrated. The space of the middle panel recedes away ina vertiginous manner. Our gaze flicks to the right and finds here a shallow geometry that, while more probable, still seems incongruent. The room will not cohere. Reluctantly, we are made to inhabit an environment of collapsing Cartesian space.