This study focuses on the relationship between Valerio Adami and Jacques Derrida, honing in on Chapter 2 “+R” of The Truth in Painting (1978). This collaboration was the process of deconstructing the boundaries between art and literature, text and image, and center and margin, all while leaving traces. First, this study examines the point of collaboration with Adami in Derrida’s thoughts and art theory. It analyzes Adami’s series entitled <Study for drawing after Glas>, and Derrida’s writings pertaining to it. Also examined are the problems and answers of ergon/parergon, text/signatures, and text/image. Second, we analyze mise en abyme and the mirror effects of G. W. F. Hegel and Jean Genet, which Derrida attempt in Glas (1974). We examine the reiteration of the relationship between Hegel and Genet: how Hegel, who emphasizes family, holiness, and morality, can speak to the works of Genet, who is homosexual and engages in obsessive kleptomania. This in light of how they reflect each other. Thirdly, it is revealed that the conversation between Derrida and Adami through their writings and drawings is not a simple self-reflective form. Here, the mise en abyme does not confirm the fixed meaning of the text, but rather operates in a way that acquires meaning and function in relation to other texts. The form of mise en abyme as such a parergon is not confined within the frame of representation and presentation, but becomes an example of discourse addressing the truth in painting.