Cubist form fragmentation, in particular its destruction of a harmonious surface-structure as well as its immanent breach of reference and representation is a sign of silence, which characterizes paintings in general. When the death of a figurative image occurs, language is its first victim. That silence is in the picture – pictures are arranged to radiate silence as a sign, and that purpose seems essential in pictorial representation: Mondrian, Rothko and others painted that fascination ( 171). Can one do this at all? What does this mean? Does it give a clue for a new and, above all, an encompassing understanding of the multiple aspects and fragments of our jubilee’s life work?