In the late 1980s, a group of artist friends began to question the localization of art. Was art based in the artists’ personalities, the bohemian society around them, the theoretical concept, or even the artistic object itself? It became clear to Förg, Kippenberger, Oehlen, and Zobernig that the concept and context of artworks would in time acquire previously unknown significance. The unfinishability of a work of art was staged like a piece of evidence, with Honoré de Balzac’s 1831 novella The Unknown Masterpiece serving as a trigger for these aesthetic reflections. Despair of the inability to finish anything thus turned into the frenetic joy of the fragmentary. This catalogue discovers the viral aspects of this approach in current artistic positions and in-depth texts about the artists.