In “Subject of Transgression,” Baroli’s child manipulates toys, weapons, slingshots, and exercises his body in acrobatics. Disconnected or attentive, the characters activate the eye of curiosity, the secret, what marks the difference in the body of the other. The scene encourages exhibitions all the time. Playing is adding the first joy to terror, Walter Benjamin clarifies. And every deeper experience wants repetition, recurrence, and habit. To repeat is to enjoy happiness twice. The eye, for Georges Bataille, can transform into different objects, and its presence, even if potential, makes desire the active drive of the hidden. Baroli’s paintings function as Bataille’s eye. Although the crimes are not revealed, they are intuited and insinuated. With associative techniques, the images replace the “this was” of documentary photography with the “this could happen” of literature, actions between the lines, and poetic metaphors.