 This critique deals frankly with the distinction between the normative categories of “high art” and “low-culture”, and questions where these extremes merge.By juxtaposing precious materials and trash, and by outsourcing his production, Reyle is able to make work that operates as a witness to our time and that prompts reflection on the prevailing values of our consumer culture.Despite its critique of bourgeois ideals, however, the work does not deliver simple alternative with genuine moral appeal and insists on sometimes retaining its ironic tone.