In the late 1980s, a series of apparently unremarkable group exhibitions begin to take place in galleries and art centers around France. Each show is presented as a selection from the holdings of a pair of young collectors. Only gradually does the public start to realize that all the artists in these shows, which run the gamut of contemporary avant-garde styles, are in fact inventions of the “collectors,” a duo of artists who have taken the postmodern tendency of stylistic diversity to an extreme end.