The painting’s tension exists in whether or not Eggerer cares about his subject matter. Richter may have shown care for his but then masochistically bled it, and as this cold blood trickled down, through Tuymans and Sasnal, it finally reaches the ambivalence of Eggerer’s young men as vessels. Richter painted abstractions and people to prove his violence toward each; Eggerer paints people within architectures of highly stylized abstractions to prove the artificiality of his vision.