Finally, this book is dedicated to certain rooms in the museums of Paris, as they were before the opening of the Pompidou Centre and the Musee d'Orsay: to the overcrowded splendour of the old Jeu de Paume, where Cezanne first taught me to see; and to the vast gloomy base- ments of the old Musee d'Art Moderne, where I applied that lesson, and saw Georges Braque. [...] That is, the frame is always permeable: it does not allow for any absolute distinction between the visual and the non- visual; the 'inside' of the image (so-called visual 'purity') is always The Supplement of Language 7 already contaminated by the 'outside/ language. [...] The image of the apple displays the apple as 'complete in itself,' a thing; yet it also shows that the apple is not an image, that is, that the apple in its thingness neverthe- less lacks something - it lacks 'imageness/ The lack is reciprocal; so the structure of the lack is, as always, the structure of the supplement. [...] But for the most part, I prefer the metaphors of 'the supplement' and 'the frame' to the metaphors of 'imperialism' or 'appropriation/ For all that I have insisted on the necessity of painting's existence in a linguis- tic (social) space, I have also insisted on the counter-movement of the supplementarity: on the ways in which the visual resists language, the ways in which it preserves a stubborn [...] In a kind of synecdoche, the part is made to stand for the whole, the one isolated moment for the complete length of the story.