In Ifafa III, the artist Bertrand Lavier appropriates a work that already exists. The painting, by the 1960s American artist Frank Stella, is an irregularly shaped canvas covered with very precise lines that form a kind of lightning. Frank Stella was a minimalist. In his works, he tried to transfer onto his canvas the impersonal and cold nature of minimal sculpture. Lavier does the opposite: he takes a work by Frank Stella and replaces with subtle lines with neon tubes, turning the painting into a sculpture, in doing so, giving it new life. His action is both spectacular and conceptual, and contains a reflection on art and the originality and authorship of a work of art. Which of the two is ‘more authentic’ Which is more ‘minimal’? Obviously, there is no answer. Apart from that, Lavier’s work is a kind of game or, better, a pretext to make us think about the contradictions and short-circuits of the creative process.