The establishment and production of an exhibition space, and the work shown within it, depend on the activity of a series of people and procedures. A supposedly static environment, treated with an air of genius and authorship, it is constantly undone and redone by various agents: the wall painter, the lighting, the projector, masking tape, the border between white and black walls. In this piece, besides revealing the backstage of an exhibition, Cao Guimarães demonstrates the reciprocal relationship of interdependence and contamination between art and video. He juxtaposes an electronic language with the materiality of paint; the work of the video artist and the wall painter. It is a small treaty-joke about the ontology of the image, bringing together the movement of painting with the moving image of cinema. Guimarães also plays with the function of the “painter” and the use of paint, referring both to the painter-artist-creator and the wall painter, who is employed for this task. Brought within the museum environment, the piece provokes mental confusion: the painter paints atop the video art only to later throw it away. Could it be the revenge of paint against video?