In 1974, over thirty years later, when he was preparing for his retrospective at the Grand Palais in Paris he asked Gomis (who was by that time President of the Fundació Miró in Barcelona) to loan the work to the show. Disappointed to see that the burnt carbon lines had significantly faded, Miró – without a word to Gomis on the matter - took to work with a paint brush and updated his subject matter in vibrant hues of red, yellow and blue with strong black lines and a textured white background. His Painting-Object thus took pride of place in the “Sculpture Objets” section of the historic 1974 exhibition under the title Bûche peinte. Several scarred indents from the original pyro-engraving can still be made out under the red sun of the verso.