A series of AI-generated images from prompts of the Diver of Paestum and a migrant artist rights report. Silver leaf overlays evoke ceramic repair traditions, suggesting mending cracks in narrowing notions of nationality and belonging.

Bamboo objects woven after Blossfeldt’s plant photography (Urformen der Kunst, 1928; Wundergarten der Natur, 1932) are displayed in a classical museum style. Hybrid baskets translate microscopic plant forms into Chinese weaving techniques. The vessels invite speculation on cultural and technical transfers across borders.

An extension of After the Gift, this piece charts baskets’ full genealogy in a book with graphic notations—detailing size, plant/artist names, sources, etc., and countries of origin/residence. This genealogy of baskets can be played as sound on a "labephone", adapting the form of extensive museum labels.

Every artist who worked at the Rijksakademie since 1993, mapped by name, year, and studio on the building's floor plan. This archival grid reveals institutional architecture while inviting speculation on ambitions, selection processes, and collective oblivion. Acquired by the Rijksakademie for continuous updates.

Mixed-media installation on German "Hobbyism" or "Indianism" explores authorship, originality, exoticism, and authenticity through appropriation—redrawings, rephotographs, artifacts displayed as in an ethnographic museum.

Korean models hold artist-carved wooden replicas after Man Ray's "Noire et Blanche" in varied poses—solarized, cropped, mask-as-perfume flacon. Techniques evoke commodity fetishism and binary oppositions within global beauty industry exchanges.