"Let"s say that, to keep the frame, to the limit, I here write four times around painting. 1. In order to make a disturbance in the philosophy (Plato, Kant, Hegel, Heidegger) which still dominates discourse on painting. All that Kant glimpsed under the name parergon (for example the frame) is neither in the work (ergon) nor outside it. As soon as the par ergon takes place, it dismantles the most reassuring conceptual oppositions. 2. In order to decrypt the singular contract which links the phonic trait, even before the word (Gl, Tr, +R), to the so-called graphic trait. Also at issue are the letter and the proper name, autobiography and political narration in painting. The chance to do this is provided by The fourney of the Drawing (Adami). 3. In order to analyze the ductus (idiom of the trait as draftsman"s signature) and the system of duction (production, reproduction, reduction, etc.). At issue are initial and paradigm, series and genealogy, mourning and remains in...