The painting is presented here as an exercise of a practice rooted in the specific space of the museum and the artist wants to reconstitute a workshop idea, the exhibition place. The object-installation, painting, thus intends to refer the viewer to an apology for "demythologizing of contemporary society" through the document display, text and mail records, embodied in art. To these objects, is conferred on them, the ephemeral character, given the fragility of the materials that constitute them. The object-painting, before being art is a moral judgment about himself, a sense of beauty that leads us to abandoned spaces, ruin and loss. "Ceci n'est pas un Musée" opens the possibility to physically delete the viewer of the exhibition space, so that the pictorial representation assume full control, unique space. Thus, the pictorial representation (operated through photography) acquires an anthropological quality, self-will, authority. And as for Beuys, intended to reconstitute a working space, as if it were a zone or restricted area.