A fragment of Magritte's pipe (which, as we know, is not a pipe) and an equally recognizable piece of a Balthus image-two fragments from well-known artworks-are placed against a neutral white background like numbers on a bingo card, with the title "... and Balthus." In this lecture, Gleb Napreenko asks why Baldessari is turning to the artists of the past. Why does he pitch certain artists against each other? How arbitrary are his choices? How do these manipulations alter the meaning of his selected works? What is the significance of his titles?