Ljubljana is stifling in the summer heat, and we are sitting in the shade under the dense foliage in front of the small fairy-tale cottage that Strup renovated into a studio several years ago. And it is in the very centre of the city. The location does not surprise. The studio is only a reflection of their work which is, from my viewpoint, intelligent, indirect, easy in a special way, and darned selective. Their work should be seen as a relaxed game, without clear rules, and if the on-looker is not attentive enough, the fascination with the game may mislead him and he may not register the main problematic line of thoughts – which may be manifest or simply common. Strup sometimes offers them in a formal manner, often even incidentally, without formal structures. What would an aesthetician do if he tried to define their products when confronted with them? In the essay “How to define art” (Umetnina kaj je to?, Zalo`ba *cf, Ljubljana, 1999) by Paul Ziff he states that one of the greatest problems of aesthetics is the definition (analysis, interpretation or explanation) of the notion of the work of art, for the opinions of different aestheticians are extremely divergent.