As a seminal figure in the movement toward appropriation art in the 1980s and 1990s, Bertrand Lavier is perhaps best known for his readymades, created by covering everyday industrial objects such as refrigerators, tables, pianos, and furniture with an impasto layer of paint. He appropriates ubiquitous objects and images in order to reposition them as elements in a strategic critique of consumerism, deeply entrenched visual habits, and art institutions. Fiercely critical of the fetishization of the art object, Lavier considers his work only fully realized as an exhibition—as a constellation of works that generate meaning exclusively through their interrelationships.