We can see how the figure-ground reversal may have occurred by returning, once more, to the Concert Hall, the project that appears to lie on the cusp of Mies's changeover from the cruciform to the I-shaped column. At the same time, we will be able to see more clearly what this reversal implies about the question of concealment and expression of meaning. From the point of view of representation, the Concert Hall can be read as an inversion of the Resor House. In the house, the physical reality of the readymade imagery is given over to the non-architectural elements; in the Concert Hall, by contrast, it is the architectural structure that is made physically present through the photograph. And, where the structure is kept in reserve in the house, and serves to obstruct a continuous view of the landscape, in the Concert Hall it is the applied planes of paper that mask the structure and its graphic contents. Thus, when the reality of the ready-made imagery finally takes on the positive form of the steel structure of Kahn's airplane factory, its connotations and supplementary meanings relating to the military-industrial complex are concealed from the aesthetic attentions of the observer. The Farnsworth House, because of its idealizing whiteness and bucolic setting, seems to exemplify this process of transformation and sublimation that lies at the core of artistic representation. But it is the more typical buildings, like Alumni Memorial Hall at IIT and the double apartment block on North Lake Shore Drive, that prove more instructive and enlightening, for the very fact that they had to accommodate those realities of construction such as fireproofing, which forced Mies to make the distinction between the real and the ideal - or truth and verisimilitude - and thus give us the evidence of deception, which is to say, the fiction that is a normal aspect of the process of representation.