Attempts to read original paintings go along with misunderstandings and doubts. The old grammar is slowly withering away and the new one has not been regularised yet. Colourful patches have been inserted into split paintings. Some places however still remain vacant. If, in the past, Mikyta's works were focused mainly on iconography related to period-style propaganda, then, in the present times, we may observe certain turn of his interest and inclination to ambiguous aesthetics of applied arts. The result is an installation which works with the legacy of the printing industry and the unreliability of our own memory.