The unknown painting
by Jon Rappoport
March 13, 2016
(To read about Jon’s mega-collection, Exit From The Matrix, click here.)
The critics were befuddled. One critic jumped out of his window and crashed on the street below. Oh well.
The painting hung in a gallery on Madison Avenue. No one who worked at the gallery was there.
People came in. Lots of people. They looked at the painting and screamed and laughed and shrugged and scratched and fell down and ran away and stood transfixed and wept and one doyen of the arts pulled her upper bridge out of her mouth and dropped it on the floor and started talking to it…
Some people said nothing was on the canvas and some people said everything was on the canvas. Looking at it objectively…well, apparently, there was no way to look at it objectively. There was no way to say: this is exactly what’s on the canvas.
A local preacher said the painting was a crime.
A few CIA men showed up, of course. They stood in front of the painting for a minute and then they tore off their clothes and ran around the gallery gibbering, and said, in unison: “we are television.”
A professor then said, “Of course. The painting is television.”
A hooker who dropped by to get out of the rain stood in front of the painting and said, “Mathematics cannot be reduced to logic. Bertrand Russell was wrong.”
A retired astronaut walked in and said, “We never went to the moon. We went to Mars.”
A cameraman for a local TV station said, “I just fell into the painting. Somebody call 911. I’m on the sixteenth hole in the woods looking for my ball.”
Three physicists from Columbia stood there and agreed the painting was a miniature black hole in which the force of gravity was 10 to the 28th power greater than…utopia.
Cops came in, drew their weapons, and shot at the painting, and nothing happened. Apparently.
A student from a local high school said: “Bernie and Trump both agree that trade treaties are killing America. Don’t you people get it?”
A homeless man wandered in, stood in front of the painting, and said: “This is the power of a painter who made his own spontaneous unrolling process or whatever it is stronger than the physical world and in those moments the subjective became objective, which is impossible, but it happened, and this is the problem. The law is, it can’t happen, it’s not allowed to happen, but it did. We’re talking about an addiction to the objective, an addiction so deep that no one wants to cure it, you see? No one. People will die before they admit it could happen. People will kill before they admit it could happen. They’ll go to war and blow other people to pieces to keep it from happening. They’ll elect one idiot after another to public office to keep it from happening. They’ll jump off a cliff. Objectivity of things—that’s the ultimate protection racket and everybody is in on it. All the way. The physical world is what’s real and it has to be real and it has to be the only thing that’s real and we all have to be addicted to that, and if anybody comes along who can make his subjective thoughts and feelings as real as that and even more real…well, that’s impossible, but it just happened. That’s what the painting is. That’s why it’s invisible to us. But it still has an effect. Lots of effects. What you’re seeing with all these people coming in here and reacting is withdrawal symptoms from the addiction, the addiction to the objective, to what’s supposed to be real, to what has to be real, to what has to be the only thing that’s real. Withdrawal is a bitch. In this case, it’s titanic. Just suppose for a second that this painting is more real than the gallery and the street outside and the traffic and the buildings and the space. Yes, more real than even the space. What happens then? What happens if we can prevent ourselves from seeing it but we can’t prevent ourselves from feeling it? You can predict what the government will say. They’ll say there’s a danger that the entire universe could be sucked into the painting. This gallery will become the most heavily guarded spot on Earth. Maybe they’ll try to blow it up, but if they do the painting will remain. The invisible painting. No one will admit it, of course. Billions of people who are ‘realists’ will deny it. They’ll call any doubters insane. They’ll swear there’s nothing there on the wall. But put them in front of the painting and they’ll start screaming and sweating. Of course, I know what the painting is because I can see it. It’s right there. Can’t any of you see it? It’s an apple. Well, not exactly an apple. It’s a universe that looks like an apple from this distance. And in that universe-apple, what you project, if you’re an artist, becomes more real than real. In that universe, there is nothing else. There is only what artists create. That’s all. Do you know what that means? It means there isn’t one central reality. It’s a very interesting situation, because no one controls Reality. There isn’t any single Reality to control. You might want to think about that. It has something to do with equality, because anyone can be an artist. I understand what I’m saying is foreign to you. Very foreign. You don’t believe me. That’s all right. I don’t care whether you believe me. It doesn’t matter. From what I can see in the painting, that other universe is moving toward us. It’s getting closer. It seems we’re all going to move. We’re going to move from this universe to that one. And then we’ll have to figure out what to do. When I say ‘we’, I mean each one of us, independently, since there isn’t any ‘we’.”
The homeless man looked around him. The gallery was empty. All the people had fled.
He peered outside. The crowd had dispersed.
There were no guards or police, either.
He walked over to the wall and took down the painting.
He tucked it under his arm and walked out of the gallery.
After all, it was his. He had painted it.
He walked toward the park, where he made his home.
He wondered what was going to happen next.
The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.