Wade Guyton’s inkjet paintings draw their strength from the incalculables of technical reproduction. About two decades ago, the US artist repurposed his inkjet printer into his art-making tool of choice and, shortly thereafter, declared some of the results of his experiments with this medium as paintings in his 2005 exhibition “Color, Power & Style.” Ever since, he has persistently relied on this quotidian process of data output, the painterly potential of which he explicitly sees in its material and technological limitations. As processual byproducts, the streaks and glitches that appear when Guyton pulls his canvases through the printer refer to the mutation of information in media transfer and to the incessant proliferation, dissemination, and valorization of images. Guyton’s pictorial motifs are – when not graphically abstract – mostly sourced from either the artist’s personal environment or from the internet. But for his fourth edition for TEXTE ZUR KUNST, Guyton chose a panel painting by Goya, “Nature morte à la tête de mouton” (1808/12), which caught his eye during an exhibition visit at the Fondation Beyeler in Basel. Rotated by Guyton into portrait orientation and overprinted in toxic green with pigment-rich UltraChrome ink, the classical, bulkily framed painting looks like a contaminated version of the vanitas still life. The modified Goya motif was already part of Guyton’s exhibition “Supply Chain,” which was shown at Reena Spaulings Fine Art in New York in 2021–2022. Then still surrounded by generous white space on a large canvas, it has now been reproduced as a screen print cutout and fed into a new supply chain.