Somehow many of the most interesting experiments on the frontline of art today seem to involve anachronisms such as this one. The painter sets himself a logically doomed task, akin to the famous Zen invitation to imagine the sound of one hand clapping. How does one finish a painting that is meant to be unfinished? It is rationally impossible. Yet that does not mean the work is a futile exercise. The best painting of today does not want to resolve the anachronism; its aesthetic interest which derives from the process of struggling to reconcile the contradictions within it.