Each of these works is an investigation into how art is perceived by different social groups, starting with my own group, artists. Artworks that appear in cartoonists and architects’ drawings (the subject of Façade Project) from the postwar period give us a good idea of what modern art looked like in the collective imagination of the period. This collective stock of imagery has formed the foundation for contemporary perceptions of art, including artists’ own perceptions. To do their job of analyzing the world, artists need to be plugged into the collective unconscious as much as their own personal subliminal warehouse of imagery, fragments, and influences. Noguchi Galaxy and the Display Modern project are like 3D illustrations of this maelstrom of unconscious imagery. Using period cartoons, the Maquetas del inconsciente escultural (tr. Models of the Sculptural Unconscious) reverse the relationship between model and copy by manifesting in stone a bunch of crude sketches, themselves based on a vague notion of what modern art should look like. The Sculpture Portraits return to standard period perceptions of postwar art in cataloguing how art was documented under the influence of the artist’s personality, a return to my work on authorship in the 1990s (in Appendices, Illustrations & Notes, for instance). At the centre of this body of work is the process piece Idea of a Sculpture, in which I close my eyes, think of the word “sculpture” and quickly assemble the first form that comes to mind, in papier mâché.