When you “visit” the site of Michael Cataldi, you are immediately drawn to an artwork entitled “the visitor”: a balloon strolling by artworks in what looks like an exhibition of works by old masters. It excels in its simplicity, it is an ode, for the sake of this blog, to spontaneity. It is art that puts a smile on your face. But above all, it is a sharp irony that hits you. Although he doesn’t aim for it right, he hits the target. Often, irony is used by artists as an airbag: camouflage for the vulnerability an artist ought to be exposed to in order to reach a veritable artistic level. You would therefore expect artists to take a step beyond irony to mature. However, his artworks are more layered and complex. When you scroll down his artworks, you notice that the irony is used differently. He uses irony as a way to break to patronizing patterns in the law system. He has not taken a step beyond irony to mature but has, contradictory, taken steps towards irony. He reflects upon the points of intersection between art and law and uses law as material but also as a target. Every law scholar shall admit with me that it feels a bit uneasy. But upon reflection, it might yet be difficult to put him in the wrong. For a correct interpretation of his artworks, you should use your own wrong as guidance for your thoughts. Put like this, the idea that something has an absolute value becomes unacceptable.