Attracted by the possibility of showing the innumerable paradoxes of perception and vision, Chema Cobo’s recent work takes the figure of the joker and turns it into the protagonist of all his works. Before beginning a painting, Cobo writes fragments of phrases in one of the corners. The joker’s smile is the expression of the arbitrariness of the apparent. “Everything we see could be different,” and therefore, “absolutely everything we might have described could also have been different,” Ludwig Wittgenstein pointed out in his Philosophical Investigations, 1914–16. And Cobo assimilates the