These “12 meditations on propaganda art and Russian communism” make amazingly compressed commentaries on the works it has chosen, particularly in the context of its production constraint of 17 minutes per piece. As an impromptu response from an artist and poet using Flash as a tool, this piece highlights the temporality and visual agility of the dancing signifier. The letters, words, and symbols superposed on the propaganda art feel spontaneous and full of life, questioning, mocking, obscuring, admiring, and engaging the material it dances before. These traces are lenses through which we experience Communist propaganda art, gesturing towards Thuan’s own ideology. At the same time, the contrast between the artistic media and expressive strategies enhances the experience of both, resulting in a work that is more than the sum of its parts.