It takes hutzpah to put a row of steel shelves in a fifteenth-century Venetian library, stack them with a bunch of decommissioned library books, and call the job complete. It is another thing altogether that more than half a dozen institutions over a dozen years have joined in Favaretto’s antiquarian act.

The art world art sees its preservation and reproduction in these “Momentary Monuments”. With literacy itself in ostensible crisis, Favareretto’s second-hand salesmanship exposes the museum’s anxiety that the image might soon go the way of the word. Imagine the Louvre a charity shop, then, with Rembrandt and Rothko in the bargain bin, Warhol the stock boy, and Duchamp in the toilet where he always belonged. 

Whose expense is this joke at? On redundant paper, Favaretto’s concerns are loftier yet more trite. The pamphlet speaks of “the book as an epistemic infrastructure” and “a critical space for verification and transmission”. Burning the art student’s undergraduate essays won’t solve the problem, alas. Neither will the conceptualist’s iconoclasm.