This painting was on display at the exhibition Ultramodern Nihilism in 1998 at the Ludwig Museum, as part of an installation of 30 paintings. With this painting Edzgveradze vivifies the genre of portrait. Traditional academic hierarchy places the rep¬resentation of the human form above all. The creation of ideal beauty has occupied artists since Antiquity. However, sublime beauty is disturbed here by flies. At the same time, with another twist, the flies are said to be happy, suggesting that they are happy because they enjoy beauty, which endows them with a characteristic that they are supposed to be incapable of according to the current state of biology, except in transcendent worlds such as tales or art. In this painting, as with other compositions of the artist made with fine black lines on a white base, it can be observed how the lines are dancing on the border of interpretability: at the facial features and the hairline, the lines of the head are barely discerni¬ble from the flies. In addition, all of these appear very similar to the letters of the inscription on the upmost section of the canvas.