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Among the origin myths of camouflage is Picasso's claim to have invented it with cubism: 'it is we who made it', he informed Gertrude Stein in 1914 upon seeing camouflaged military vehicles in Paris.1 Reinforcing camouflage's link to the European avant garde is a post-war statement by the chief camoufleur of the French army that '[i]n order to totally deform objects, I employed the means Cubists used to represent them'.2 This fabled genesis is hardly surprising, for it dexterously enfolds camouflage into now familiar narratives of modernism, locating it in Paris in the first year of the First World War and attributing it to the revolutionary painter par excellence. Yet how exactly is camouflage, the supposed visual product of modernity, precisely related to painting?