Even though not readymades at all, they nevertheless effectivelly evoke this distinctive ‘readymade feel­ing’, a certain conceptually evading, but at the same time precise, aura of commodity, seriality, and banality. In my opinion, it is not only logical, but rather inevitable, that this piece--or rather: the production method of this piece--recently became a disturbing case of art forgery. It started to happen when Pontus Hultén, then di­rect­or for Moderna Museet in Stockholm, in 1968 staged one of the earliest War­hol retrospectives in Europe.