The artwork "Wittgenstein’s Ladder“ of Norbert Attard, born in Malta in 1951, deals with the famous theory of language of the philosopher Ludwig Wittgenstein (1889–1951). In his early work “Tractatus logico-philosophicus” (TLP) released in 1921 for the first time Wittgenstein develops a picture theory of language. From his point of view the logical structure of language mirrors the logical structure of the world. However, this relation between language and world – this is the common ground of the logical form – cannot be expressed adequately by linguistic means, because language cannot be examined quasi from the outside; it is not possible to speak about language by using language. Wittgenstein gains the opinion that indeed we are not able to speak about the relation between language and world but that this relation appears within corresponding sentences. Thus, Wittgenstein declares: “My sentences elucidate in a way that the one who understands me realizes in the end the senselessness when he climbs by them – on them –over them. (So to speak he must throw away the ladder after climbing it.)” Wittgenstein challenges the reader to grasp the impossibility to say anything meaningful about the relation between language and world using the language of the TLP (or any other language). Actually, the meaningful is in the end what cannot be said. From here Wittgenstein concludes his famous final sentence of the TLP: “Whereof we cannot speak about we must remain silent upon.” Keeping this in mind Norbert Attard’s work with its “luminous” aesthetics functions as a philosophical critical comment about the boundaries not only of a linguistically logical capability to depict but also of a scientific and technical usability of perception and cognition.