This assemblage of rolled, silkscreened canvases, which takes its codes from transport, marks the period when Batniji, who was originally a painter, decided to empty his surfaces of their signs, covering their figurative content with white or, as here, in a gesture reminiscent of Supports‑Surfaces, by condemning them to silence. Inflammable. By extension, the piece raises the question of the ‘dangerousness’ of art, the potential scope of what it shows, especially in a context of reduced, controlled circulation. (text by Sophie Jaulmes)