Among many aspects lying beneath the prohibition to cross the line I have chosen an inner resentment towards violating a taboo of touching or leaving a trace behind. I produced a photograph as a finished and sellable art object and mounted it in the space that could be identified as a contemporary museum or gallery, increasing the inhibition to damage the work. Several acquaintances were asked to leave visible marks on the photograph, to violate the prohibition in Hegelian sense, where the awareness of the taboo is still present and the restraint and prohibition in a different context continues to exist. Most of the participants felt desire to violate a work in the past and there was an obvious excitement just before the breach. The reluctance to damage the photo soon disappeared, but a new taboo emerged: an inhibition to touch the marks left by previous violators. While some traces are obviously violence, majority resembles a collaborative work, taking into account the underlying photograph and already present traces. This reveals another aspect of the action in the contemporary art space. The action, even if meant as a destruction, is immediately absorbed into the space, and can be easily appropriated by the work itself. It is not visually distinguishable whether the final photograph is a document of a violation of a photograph or a document of an installation titled “Violation of a Photograph”.