 Because these strategies must be carried out within the symbolic order, they are matters of rhetoric and art, or a hybrid of both. They also function as gifts or sacrifices, for which the system has no counter-move or equivalence. Baudrillard finds a prime example of this strategy with graffiti artists who experiment with symbolic markings and codes in order to suggest communication while blocking it, and who sign their inscriptions with pseudonyms instead of recognizable names. “They are seeking not to escape the combinatory in order to regain an identity,” says Baudrillard, “but to turn indeterminacy against the system, to turn indeterminacy into extermination” (Baudrillard 1976, 78). Some of his own remarks, such as “I have nothing to do with postmodernism,” have, no doubt, the same strategic intent.  To the extent that “postmodernism” has become a sign exchangeable for other signs, he would indeed want nothing to do with it. Nevertheless, his concepts of simulation and hyperreality, and his call for strategic experimentation with signs and codes, bring him into close proximity with figures such as Lyotard, Foucault, and Derrida.