Offering nearly seventy works in diverse media, the retrospective of Francis Baudevin (1964, Bulle) spanned the entire fourth floor. Baudevin began painting in the mid-1980s, recording the historic end of Abstraction as a program and style for the modern world. Any abstract painting must always already be an image of painting because it has explored, or even exhausted, all the essential possibilities of its geometric self-demonstration. Additionally, the nonfigurative aesthetic has seeped into the other fields of our visual environment. This inability to escape representation led Baudevin to develop a theory of painting that considered the inevitability of the image. He draws his structures, shapes, and colors from commercial packaging that he reproduces. While modernity ended up as packaging design, Baudevin’s paintings reclaim his rights with humor, yet without nostalgia.