All of Claude Rutault’s artistic work is built around the simple proposition that states that all his paintings must be done in the same color as the color of the wall on which they are hung. The canvas is thus given equal treatment to the wall, the building and what it contains are assigned the same value. Once these terms are set, the only thing left to do is program the innumerable applications which they have the potential to realize. Rutault’s work is entirely procedural, since anyone can be delegated to create or update these pictorial instructions, which Rutault calls dé-finitions/méthodes. The parameters dictate only the form, the size, and the position of the canvases, along with any other practical variations and constraints that the artist may choose to introduce into the exercise. The goal is no less than 
an overall deconstruction of the painting’s means of existence. In 1994, when he made the Inventory, Rutault recorded 248 dé-finitions/méthodes. The Inventory
therefore contains 248 canvases, some painted white for the realized dé-finitions/méthodes, some left unpainted. The work has been updated in Spring 2017.