Like the stamps of the Weimar Republic, Niño's paintings are countermarked with a momentary value, millions of times higher than the one underneath and with the possibility of being countermarked again or in another sample of his paintings. The countermark of these stamps and paintings, the repainting, also abolishes the direction of the image and its metaphorical sense, and makes them a monetary / aesthetic value valid only for a few days. Contrary to everything Walter Benjamin thought, both in the stamps or countermarked bills and in the paintings of The Days of the Groundhog, the value of the countermark is simultaneously its auratic value, because what we have learned since the days when Dubuffet passed away is that there is no more aesthetic value than the little vertigo of circulating between the media flow, sometimes between images or sometimes in the interstices between them or their footnotes, always looking for the inflationary limit of the day and the micro vertigo produced by the loss of purchasing power of gratuitous and disinterested contemplation.