Four rooms on the first floor offered some of the serial works that Allan McCollum (1944, Los Angeles) has been producing since the late 1970s. First and foremost, this American artist critiques the notion of originality, erasing the usual borders between industrial, artisanal, and artistic production. Rather than single pieces, he prefers the form of the multiple; rather than the inspired gesture, he prefers infinite repetition. Following structured principles, his Surrogate Paintings were arranged in cloud form, and his Drawings in tight ranks, the latter to give the visitor the impression of being a consumer facing supermarket shelves. The eighty drawings were all produced using the same process, each with one variable component. Any uniqueness is lost in the homogeneity of the whole, as in McCollum’s Perpetual Photographs, enlargements of works of art seen in the background of scene on television. The image loses all readability and is drowned in blurry abstraction. Consequently, McCollum’s work can be interpreted as a general critique of the means of image production and how art is received.