Rogalski’s paintings are like demarcating personal territory – an inviolable sphere of basal interpersonal emotions and relationships. In such territory, a strange scene takes place: a private production of 100-euro banknotes. Two people (resembling the artist and his then-partner, now wife, Karolina) sitting on a carpet laboriously copy a pattern on banknote-size pieces of paper. In this case, painting about painting is also painting about counterfeiting. The banknotes are just an excuse, because Rogalski above all enjoys discussing the painter’s duties.