Julieta Aranda’s work focuses on the aesthetic potential embedded in the circulation of cultural capital through an oeuvre that is far from media specific. In Untitled (Coloring Book II), Aranda plays with the white walled gallery by using it as a background and ‘neutral’ surface upon which viewers are invited to imagine new colors. The work consists of a collection of commercial paint titles applied to the exhibition wall under a corresponding white rectangle, a collection of indices that exercise the mind through the absence of color. By appropriating names from a color chart, and asking the viewer to reimagine them, Aranda generates an alternative transaction of cultural capital.