Since the early 21st century, Tino Sehgal has resolutely resisted producing tangible art objects. Rather, he is celebrated for his ephemeral, choreographed “constructed situations”, through which he challenges conventions of meaning and value. His practice is shaped by his training as a dancer, his study of economics, and his conviction that there is too much stuff in the world. Sehgal sees the art industry as an economic microcosm, centered on the production and distribution of goods. “The museum is this place where objects are given amazing value, and it seemed interesting to go into this place and not do that,” he explains. All of his pieces are enacted by “players,” who dance, sing, or engage each other and viewers in conversation, thereby modeling a different value system, one based on actions and social encounters and the resonance of these experiences.