and the ever-increasing power of the art market, while others have themselves been the object of the current speculative drive of the art market. The works of Yael Bartana (Odds and Ends, 2005), Josephine Meckseper (Untitled (50% Off), 2005), Matthieu Laurette (David Hockney / Eduardo Paolozzi / Bridget Riley / Andy Warhol Ready to Hang (from the Ideological Shopping series), 2006), Danica Phelps (January 2-8, 2005, January 9-15, 2005, 2005, January 16-22, 2005, January 23-29, 2005, and January 30-February 5, 2005, 2005), Maurizio Cattelan (Errotin, le vrai lapin, 1995-1999) and Christian Jankowski (Flock, 2002) articulate a critical commentary on contemporary consumer culture and the role of the artist within it. Some works refer specifically to the commodification of art, (Matthieu Laurette and Josephine Meckeper), others, such as those of Jankowski and Cattelan, provide ironic insights on the herd-instinct that seems to guide art audiences and the market and the the submission of the dealer to the whims of his artists and clientele. The art-world scene has also been in the critical eye of some of the artists in this exhibition. Jesús (Bubu) Negrón's VIP Sketch, 2004-2006, drawings come across as field renderings portraying the typical parties and cocktails of art fairs and openings, while Reena Spaulings' Christopher Williams STF Dinner, 2006 functions as an index of one of these VIP events; it is the wine-stained tablecloth from one of the tables at the dinner celebrating an opening of a Christopher Williams exhibition. Douglas Huebler's Crocodile Tears, 1994, also reflects on the dynamics between art-world, dealer, fame, and status. The works of Aaron Young (I.P.O. (35 offerings), 2006), Vik Muniz (Bette Davis, Diamonds, 2004), and Reena Spaulings (Money Painting, 2005) allude to the art work’s status as a luxury-object and investment. The inclusion of works by Josh Smith and Anselm Reyle in this exhibition responds more to the fact that the work of these artists has been the object of speculation in recent times and, as such, they are evident manifestations of the critique established by the other works in the exhibition. Ultimately, and seen from an ethnographic perspective, many of the works in this section, and indeed throughout the exhibition, function as cultural artifacts, giving us an insight into some of the dynamics of contemporary society, its rituals and customs, particularly those regarding art.