The nine-painting exhibit features five reinterpretations of historical art tropes–a ship, a Vanitas, a reclining nude, an English equestrian scene, and an erotic renaissance piece. If these works are to be considered paintings of paintings as suggested by their painted pink frames, then the subjects, all of which relate to Dixon's vocabulary of luxury and abundance, work in tandem with what is arguably the true subject matter of each: the original paintings themselves.
Alongside Dixon's art trope pieces are paintings of high-end commodities: two brightly coloured Versace tops whose graphics depict the scenes of hedonism and opulence regularly featured in Dixon's work, and a rendering of seven of the most expensive vessels ever sold at auction. These pieces add an additional level to Dixon's exploration of the meta-commodity by playfully asking the value of a painting of a valuable object, especially when the traits that give worth to the original object–precision, history, provenance–are all removed.
However, it would be reductive to consider Dixon's work base cynicism. Nguyen continues, "Dixon is fully aware of the capriciousness that is bourgeois culture but also has a great love for it." His final painting in the exhibit brings Dixon's own valuable objects (his paintings) into the conversation. Patron's Home (Boston) is the third in a series of pieces documenting his own work hanging in his patrons' living spaces. The piece continues Dixon's practice of reproducing objects of luxury, but in this case he points to his own work as the commodity, alluding to a never-ending cycle of alchemy -creating luxury through depicting it- while playfully admitting that he is a complicit player in the game.