The dialog between the pieces of this exhibition doesn’t present itself in their immediate appearance, but in the symbolic transformation suffered by contemporary painting, that is, a constant negotiation between its history and the awkward questioning about its death (and so validity), as well as its connection with media and techniques that can catch a glimpse of new possibilities for its presentation. Our guide is the experimentation performed by the artists of this exhibition, not a fleeting and insipid attempt of creating a new and radical condition for painting. In many cases we come across objectual paintings, but, above all, what pervades these pieces is an acid and cynical tint, a laughter about what (economy of) art has become. The market seems to be ruled, in certain circumstances, by a “force” that privileges quantity over quality, profit and investment over the poetic potential carried by the work. Mockery and cynicism are present in Alonso’s paintings and its “poorly drawn” lines, in Hugo Houayek’s corpses/coffins, as well as in a wall drawing made with lipstick, in Alvaro Seixas’ kitsch tributes to art history, and in Adriano Costa’s work, whose frail materiality makes reference to pop art and discuss the idea of displacement of the object of art.