The Art Fair ‘Brafa’ blooms, habitually, as the first among the art fairs in the Brussels landscape. This literary fiction becomes in this year’s edition, metaphorically, a reality with flowers surrounding and tranforming in art. The choice for the floral theme is representative for something that has to do with her own activity. The libido of flowers, which shows itself through gorgious colors and sweet odors, literally breaks through the transparant banality of the Brussels city life. It is therefor no coincidence that the visitors are lined up to taste these ‘tableaux vivants’ of common and daily happiness which decorate part of the Brussels landscape. Besides, it is since the discovery of the works of Georgia O’Keeffe that we know that flowers are sex organs, intensively coloured vaginas put at the mercy of the horniness of insects. Knowing all this, flowers and floral artworks spark of a feverish femininity that entice the visitors to a lasvicious buying behaviour. And yet, it is not the banal commerciality which characterizes the fair – as opposed to other rather ‘blue chip’ fairs like Art Base land Art Miami. No, the discernible factor is not so much the lasvicious factor as well the the concept of life and death, the lifecircle: flowers and antique art – in the meaning of its most powerfull personification, the Old Dutch Master from the Renaissance – share the same constitutive elements. The organizing comittee of Brafa stichted these elements seamlessly together. The lifecycle of flowers constitues a knot tangled up with the painting technique the Old Masters – No one knew better to reproduce the border between dead and life; maturty that becomes rot. By choosing for a floral theme it is kinda like Brafa wants to emphasize the celebration of the lost glory of the antique painting art. That alone makes this edition worthwhile accentuating. That the fair is merely open for a couple of days, is just how it should be. It is too late to visit the fair, but you can still admire the exhibition of Georgia O’Keeffe in Tate Modern, October 2016.