The history of painting is a history of transmission. Each generation of artists inherits a visual language that it deconstructs, extends or transforms. Agram is part of this continuity, not as a quote, but as a relay. His painting explores the structure of images and their memory, playing with matter to reveal their hidden depth. In this approach, she joins the major questions of modern painting, without adopting its systems. Where abstraction has detached itself from the subject, Agram reinvests the narrative in layers, building his paintings as sequences where each element dialogues with the whole. It is neither a return to the past, nor a rupture, but a passage, a work where the accumulation of the gesture evokes as much the persistence of ancient frescoes as the evocative power of contemporary painting. One thinks of Degas' approach, who superimposed layers to capture the moment, or Bacon's, where distortion becomes a language. However, it is not a question of formal research, but of a balance: between what is visible and what emerges, between the mastery of the medium and the inevitable part of accident. As such, Agram is part of this line of artists who question the permanence of the motif. Like Soulages in the exploration of black, like Richter in the tension between figuration and abstraction, his work is based on references without ever locking himself into them. The common thread of his work is based on this essential idea: art is not a simple commentary on the history of forms, but a space of transmission where each work is a passage, a witness which, in turn, will call for other looks and other interpretations.