Press Release
In 1981 began a new chapter in the story of art, exploiting fictional conventions in order to overturn certain artistic customs. First and foremost among these was the injunction that no exhibit should appear without clear nominal attachment to the artist presenting it. Philippe Thomas décline son identité (1987) and Épreuves d’artistes (1988) challenged this obligation as a mere formality that had become unproductive within the economy and context of artistic practice. Now, the agency...