When Claude Rutault repainted the walls of his kitchen by inadvertently covering a painting in 1973, it appeared to the artist that a canvas and his wall coexist in a relationship that is far from neutral.re. Permanently placed on the facade of the Consortium to which it belongs, the work in its present state, titled At the address is made up of 88 canvases of different formats, painted in the same white color as the wall that houses them. It is in a way a reserve of canvases that can be used elsewhere for the implementation of presentations generally based on the definitions-methods invented a priori by the artist. Leaving the front wall, they are then replaced by small canvases, all of the same format, simulating travel vouchers as in museums and painted in the color that the displaced canvas may take on in its new layout elsewhere. No canvas can however be permanently removed from the matrix.de la matrice.