It is a Duchampian exhibition which sidesteps the importance of vision in art. It is also an exhibition which is overly aware of the conditions of the art trade, showing paintings in the accouterments with which the vast majority will spend most of their lives. It is also an exhibition about a shared responsibility with collectors and museums (Geys builds into the format of the work a trust in the parameters) even when that means denying an earlier work of his. It is also an exhibition demonstrating how we label and categorize, and designate between the specific and the general. And also, of course, perhaps most of all, it is an exhibition about customs and travel and borders and moving through the world freely. Geys informed the gallery, that if at any point in transit, a shipper or customs agent inspected a painting and opened the Bubble, breaking the red, blue or yellow paint mark seal, then the work was to be considered destroyed, and he would expect a full payout. Such an event was not entirely unlikely, considering the times, or that one of the works’ label reads BRUEGEL.