The Art Gallery is home to diverse precious objects, collected and mounted with painstaking care. We commonly understand that the work is presented as such because it is deserving of a privileged consideration, a special kind of reflection that is superior to the casual attention paid to crass advertising and the noisy, nonsensical, fantastic, pornographic pallor that otherwise permeates our media environment. From within the interior of the Art Gallery, we run near and far from the alleged model, finding there an array of iconic representations, fashion statements, elite commodities, political gambits, decorations, refined sensibilities, escape, critical engagements, passion, propaganda, aesthetic sensitivities, compulsion, misinformation, conviction, affirmation, multiplicities and ambiguities. Contrary to garden-variety truth claims, there is nothing stable or fixed about an artwork. With every return, the artwork is bestowed a new politic, and the complex history that marked out its original reception is further articulated with unforeseen twists and turns.