Is made up of plaques exhibiting quotes from business executives and important art world figures. These plaques display their opinions on the system of exchange between museums and businesses, speaking directly to the importance of the arts in business practices.

Critiques oil companies, in this work Mobil, sponsoring art. It highlights Mobil’s self interest in seeking to change its image by associating itself with the arts.

Exposes the history of ownership of Seurat’s “Le Poseuses.” The work showed the increase of the value of the work as it passed from one patron to another, from a sketch in Seurat’s studio to inside a bank vault.

A large, black cube on which Haacke has documented in black letters the scope of Charles Saatchi’s business involvements in South Africa. It targets Saatchi, who was a powerful collector of contemporary art and trustee of the Tate Gallery in London who recently opened his own museum in that city.

Takes Picasso’s “Man with a Hat” (1912-13), collages it with Phillip Morris company documents, and turns it into a cigarette advertisement. He critiques Phillip Morris’ support of the Museum’s exhibition “Picasso and Braque: Pioneering Cubism.”

Haacke’s contribution to the 1993 for the German Pavillion at the Venice Biennale. Made explicit reference to the German Pavilion’s roots in the politics of Nazi Germany; “Germania” was Hitler’s name for Nazi Berlin.

A piece that is a direct reaction to art censorship, featuring six anti-art quotes from US political figures on each side of mounted American flags. Lined up against the wall were a dozen garbage cans with speakers emitting military marching sounds, referring to the First Amendment being trampled on.