Painting as more artificial considers sculpture as concretely situated and socio-technically fixed, mediating and embodying it, so to speak (while imbuing it with artificiality). The body is a certain criterion. The artificiality of painting is its body, and sociotechnics has almost become the body of sculpture before our eyes. Sculpture is justified socio-technically, fixed, its socio-technical influences are indicated, a kind of resulting politicity. All in all, politics is also practised by painting, but these are two completely different politicalities.