Ivan Chuikov may have serious reasons to pretend for the ever popular Windows laurels. For years he has used in his work - without any notion - basic principles and ideas of computer programs. Back in the 70ies he made a series of graphic works expressing the idea of programmable painting/image. This idea had to demonstrate independence of the artistic result achieves from the author's subjective choice; today it turns out as an easy accessible (and senseless) plaything in the programs like Corel Draw. Abolition of axiological hierarchy in the collection of various (art) realities' fragments is being levelled to the comfort of simultaneous work in several windows. Though, what could seem as easy as 123 to regular computer users and what they might consider as service function or just a tool for getting the goal, for Chuikov was always the main thing, the kernel and the essence. Having this in mind we may generalise that practically all of his series illustrated the famous McLuhan's thesis - 'medium is the message'. Media are the message.

The paradox is that partisans of the new media in arts often feel their own 'mediality' as something outstanding and thus claim to some kind of art ideology that is special, independent and incomprehensible for us poor mortals. But that was the artist rather unaware of what we now call the 'new technologies', who has managed to formulate universal metaphors from revelations of the information revolution prophet. Among the universals there is a 'frame' or 'window'. So we can't but admit that a monitor (or TV) screen is just the latter's particular case and therefore doesn't significantly differ from wooden framing.

Emptiness that is framed, as well as the view from a window, inevitably turns into a picture. A picture of Universe. What is really important, that there could be many such a pictures, and that any of them has no priority. The previous versions of Chuikov's 'theory of reflection' were slightly sarcastic as for existence of some singular (true) reality, reflected by art. Version 4, having 'deleted' the object of reflection itself, commands almost mystical terror - as if a prosthesis have emancipated from its 'user' and took to dance. This honest 'art for art's sake' version, not loaded with surplus details and decorative trash, makes one doubt if this message is worth such media. Or vice versa.