Things don't always come back together the way they fall apart. This series of abstractions analysed possible misregistrations of recompiled halftone channels on a series of notable figurative paintings (in the form of cropped swatches). What does it mean in an age wrought with abstractions to decompose the digital interpretations of our society's cultural heritage? In the process of mediating this digital translation of media, what purpose does it hold to investigate both the intentional and less malignant bastardizations of these precedents? This process of study lead to a variable understanding of the works in terms of their composition and color, leaving open the discussion of their renewed meaningfulness at the eyes of contemporary vantages, such as abstraction and mistaken figuration.