At the entrance to the Albers exhibition dedicated to the artist couple at the Musée d’art moderne de la Ville de Paris,1 an oil on canvas by Joseph and a tapestry by Anni were hung side by side. Strangely, the spatial juxtaposition seemed to erase the differences between the two mediums. The superimposition of the colors gave the flat canvas a depth similar to that of the intertwining threads; the weft of the textile seemed palpable beneath the paint. Is there still a need to distinguish between painting and tapestry? Were the visitors not looking at fabric covered with paint and a painting made of colored fibers?