This is, perhaps, the painting that, in the Twentieth Century, witnessed the most enigmatic fictional play on criminal impunity and its endless cascading of maddening simulacra. It hanged in the living room of Paul Allen's apartment when Patrick Bateman murdered him. Others soon followed, and also there, found a similar gruesome ending. Later, Mr. Bateman himself remembered the coldness and emotional void felt at the first sight of the painting.
Sometimes one is obliged to tight things up nicely. After confirming the featuring of Continuum 7 in the film American Psycho, I felt strongly compelled to rigorously adjust the novel by Bret Easton Ellis to the explicit details of the movie set. This is evidence of certain concept of realism. In criminal cases, circumstantial evidence is compared against each other to confirm factual correlation.
I've heard some say —A fake can always be quoted!
...At his apartment I let myself in with the keys I took from the corpse's pocket and once inside I douse the coat with lighter fluid and burn it in the fireplace. The living room is very spare, minimalist. The walls are white pigmented concrete, except for one wall, which is covered with a trendy large-scale scientific painting by Ruben Verdu, one of those machine made. It's just no more than widths of perfectly sprayed horizontal bands of greys. It's so obvious that these paintings carry all that expressive lack of industrial recording devices!