The content of the Aftermath drawings is post-explicit: the main event is evacuated, our gaze as witness is already too late. We can find traces, remnants, crumbs of action that are left, or that always existed, as leftovers from the feast of images already selected for us. Non-explicit content of the drawings activates the field of political battle. Everyday intolerance or discriminations become visible at the moment when the opposite values are finally about to start their life and development. Aftermaths do not refer to or represent a mythologized or, on the other hand, undefined past of violence and tortures inside the history of totalitarian or democratic societies – favorite pro/re/gressive epochs. Rather, they are focused on recent times. Scenes fill up a vast and eternal present, spectacles of violence or similar showdowns dressed up in the recognizable texture of contemporary image. It is possible to recognize contemporariness through models of neo-bureaucratic procedures, utopian balanced egalitarianism between chosen characters/figures/roles in the drawings and through their association or similarities with media images, multiplied and spread all over. Aftermath is a frieze without beginning or end, simple, still, and silent. The place where action takes place is the white world, the egalitarian societies. Siniša Ilić holds a M.A. in painting and is member of the editorial board of the Walking Theory (TkH), Belgrade.