The avoidance of this axis within representational orders in progressive political and artistic terms also coincides with the spectral "surpluses" of poststructuralism (all that evades "closure" in the archive/tomb, or the circular rhetoric of the absence of presence, the presence of absence etc.). 21 See L'uomo Vogue (May/June 2007). The astonishing spread of photographs of artists from the 52nd Biennale di Venezia, and associated events, includes Gerhard Richter, in his studio, in a white lab coat, photographed by Michel Comte. 22 Alain Badiou, "Some Remarks Concerning Marcel Duchamp" (lecture, Jack Tilton Gallery, New York, NY, November 16, 2007). 23 Peter Frank, "Gerhard Richter (Onnasch)," Artnews 72, no. 9 (November 1973): p. 100. This statement was made in response to Richter‟s first American exhibition at Reinhard Onnasch Gallery, Newthe mid-1980s, see Ulrich Wilmes, ed., Gerhard Richter: Large Abstracts (Ostfildern: Hatje Cantz, 2008). This maxim is extracted from "Notes, 1985," in The Daily Practice of Painting. 32 Peter Schjeldahl, "Death and the Painter," Art in America 4 (April 1990): pp. 252, 256. Cited in Robert Storr, "Introduction: Sudden Recall," pp. 198-205, in Gerhard Richter: Doubt and Belief in Painting (New York: Museum of Modern Art, 2003), p. 203. A second reference made by Storr to an article by Michael Brenson, "To Paint the Unpaintable," in the New York Times, March 25, 1990, pp. 35, 39, reminds anyone unfamiliar with Richter‟s stand regarding ideology that the series October 18, 1977 is as anti-ideological a testament as one might make (paint), given that it portrays the very temptation "to