The author describes Kjartansson's place in the 53rd Venice Biennale as a successful contrast and integration of representations. There is a look at how the artist's 6 channel video installation of a music performance in the Rocky Mountains set next to his 'role playing' performance (where he constantly paints his accomplice as an 'artist) plays with the attention, consciousness, and reception of the audience. The author briefly explains his interpretation of the title The End as references to Iceland's financial stability and Venice's geological stability.