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In this perspective he gives an account of his lectures in the [[United States]], organized by Roman [[Jakobson]], notably "Of Structure as an Inmixing of an [[Otherness]] Prerequisite to Any Subject Whatever," at Johns Hopkins [[University]]. Michel [[Foucault]] talks [[about]] Velasquez's <i>Las Meninas</i>. His address allows Lacan to conjure his [[theory]] of the painting as "a trap for the gaze," a gaze in which what falls is <i>objet a</i>. The little [[girl]] is the slit in the perspective and the vanishing point, the hidden center of the painting, and "in this gap, <i>béance</i> where there is [[nothing]] to see, it is [[impossible]] to recognize the structure of the <i>objets a</i>: underneath the Infanta's dresses, 'it looks at me,' while the eye is made not to see..." Georges [[Bataille]]'s <i>Histoire de l'oeil</i> is quoted as a [[text]] that establishes a connection among all the <i>objets a</i> in their rapport to the [[feminine]] [[sexual]] [[organ]]. Therefore, the [[phallus]] is the [[sign]] that occupies the [[place]] of this gap, the impossible or untenable [[real]]. This entails a reshaping of the [[unconscious]] around [[language]] and the gaze (excluded by [[Freud]]). Lacan goes back to to the [[Freudian]] [[dimension]] of desire and of the subject whose foundation is [[castration]]. The vagina, the feminine sexual organ, becomes the <i>objet a</i>, which fascinates and leads to ruin unless there is the [[screen]] of the phallus, even under the [[form]] of - </font><font face="[[Symbol]]" size="3">F</font><font face="BOOKMAN" size="3">. In the end, the [[penis]], as a manifestation that is seen, hardly hides the [[presence]] of an <i>objet a</i> that would be an enigmatic - <i>a</i>.<br>