The signature
of the artist, traditionally the
valued hallmark
of authority and provenance, recurs throughout «Who What When Where How and Why», emerging from the canvases
of Turk's Pollock
paintings; the abstract expressionist artist's
paint splatters
exchanged for innumerable «Gavin Turk» signatures.
By reducing
paintings to mere signs
of themselves, McCollum turned the gallery and the museum setting into a kind
of theater, highlighting the drama
of presenting, displaying, buying and selling,
exchanging, photographing, assessing, criticising, choosing, and writing about the works; the object -
paintings at the center
of the action were purposely rendered moot, in order to turn one's attention to the supplementary devices and social practices that, in the end, bestow the
value on the work.