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Courtesy Walker Art Center
Copyright retained by the artist


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Raymond Hains
overall installed 79-¾ × 114-3/8 inches
posters on metal mounted on wood
Not on view

Object Details

Paintings (Paintings)
Accession Number
in black ink on reverse of .2 “1959-60 Raymond Hains”; in black ink on reverse of .1 “"3 RH in pencil inverted "No 1” in black ink on reverse of .2 “Panneau d'Affiches *Monte sur La Bois en 2002” in pencil BC inverted “No 2 Mileau” gallery stamp and label in black ink on reverse of .3 “1 RH” in pencil BC inverted “No 3”
Physical Description
Torn advertisement posters adhered to rusted sheet metal, nailed to wood
Credit Line
T. B. Walker Acquisition Fund, 2005
Object Copyright
Copyright retained by the artist (image credits)

object label Raymond Hains, Untitled (1959–1960/2002) , 2009

In 1949, Raymond Hains and his occasional collaborator Jacques Villeglé began excavating layers of torn advertising and political propaganda posters found on the streets of Paris, which they brought back to their studios and claimed as their art. Some 10 years later, Hains began collecting large, sheet-iron fence panels, visible here in Untitled, with posters affixed to them. The artist often used a putty knife to further compose or manipulate the layers.

Hains’ works were made as if in collaboration with the countless people from a vast array of backgrounds who had pasted, touched, or torn at the posters on the street. Produced at the height of France’s postwar identity crisis—when the nation was divided about the best way to deal with a war of independence in its colony Algeria and was experiencing new waves of materialism and modernization—the posters within the work bear witness to this turmoil. In fact, a 1961 exhibition by Villeglé and Hains was titled simply La France déchirée (France in Shreds).

Walker Art Center. Extended label for Raymond Hains, Untitled, from the exhibition Event Horizon, November 21, 2009 to August 26, 2012.

Copyright 2009 Walker Art Center