阿諾菲尼夫婦像
The Arnolfini Portrait
牆上的小圓鏡裡映出房間另一頭的兩個人，其中一個可能就是畫家。
The small convex mirror reflects two more people across the room, perhaps the painter himself.
為什麼是這五十幅
挑選的標準只有一條：在四階灰、沒有背光的小螢幕上，這張畫還是不是那張畫。
這跟有不有名是兩回事。莫內的《印象・日出》靠橘色的太陽對上藍灰的霧撐著，兩者亮度幾乎一樣，轉成灰階就只剩一片灰，所以換成了北齋的《凱風快晴》。秀拉的點描和雷諾瓦的斑斕光點也沒撐過去，換成了沙金的《X 夫人》和卡耶博特的《巴黎街道：雨天》。
另一半的工夫花在確認拿到的是畫本身。同一幅名作在 Wikimedia Commons 上常有好幾個檔案，其中一份下載核對之後，是遊客在展場對著畫拍的照片。
原作最大的是《最後的晚餐》，將近九公尺寬；最小的是杜勒的《憂鬱 I》，比一張 A4 紙還小。現在它們都在同一塊螢幕上。
每一幅都從原圖重新計算，照 X3 和 X4 各自的螢幕做成四階灰，放進去就是一個像素對一個像素。橫式的畫在機器上是轉 90 度存的，這裡轉正給你看。
One rule decided the collection: on a small four-gray screen without a backlight, is this still the same painting? Fame had nothing to do with it. Monet's Impression, Sunrise depends on an orange sun against a blue-gray haze of nearly the same brightness, so it turns into flat gray and was replaced by Hokusai's Red Fuji. The largest original, The Last Supper, is almost nine meters wide; the smallest, Dürer's Melencolia I, is smaller than a sheet of A4 paper. Now they share one screen. Every painting is computed from the original image for the X3 and X4 screens separately, pixel for pixel.
