A sheet of printed paper serves as the found ground for Polke's inked interventions, merging commercial or mass-produced imagery with the artist's hand-drawn marks. The title references a durational action — two hours under red light, then green light — suggesting a performative or photographic process embedded within the work's conception. Characteristic of Polke's irreverent engagement with systems and materials, the piece blurs the boundaries between documentation, instruction, and image.