The work superimposes Rauschenberg's emblematic quotation ‘erase...’ on On Kawara's 1968 S.M.S. edition. This edition was On Kawara's first attempt to produce a ‘hundred years calendar,’ which corresponds approximately to the length of a lifetime and allows him the indexing of all his ‘date paintings.’. 

The quotation ‘erase’ confronts one of the major authors of conceptual art with one of their major statements, which, at the time, represented a paradigm shift in art. It is superimposed on a work that is fading, leaving only a few traces of the original edition. By confronting a phenomenon of time, the whitening of the print caused by light, the artwork puts the recording of time into question, which is central to On Kawara's practice. 

More than questioning the representation of time, the work questions the dematerialisation of art, another central argument of conceptual art. The preservation of the work and the value it represents is eliminated by a natural process. Unlike Rauschenberg's manifesto, which involved purposefully destroying an edition of De Kooning's work, this act is interpreted as a conceptual homage to On Kawara. The print, which becomes a blank sheet of white paper, permits us to rewrite time, much like a palimpsest allows for repeated inscription. Finally, the work becomes a monochrome folded and bleached over time, advocating the concept over its representation.

see also the UPB monochrome series, dealing in a similar way with the concept of the monochrome and time

see also the Pb_Cu painting, dealing in a similar way with a diary  and the erase of time,- memory.