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The setting, the bare interior of a store stripped of its lighting, counters and displays, was central to the work's meaning (Figure 1). Landy's emphasis on destruction was seen as a challenge to the champions of consumerism and as a strong commentary on the seductions of acquisition and ownership. The work attracted considerable press attention and provoked a powerful public response. Looping round the complex, mechanised route, Landy's furniture, record collection, clothing and even his car were first inventoried and then systematically dismembered, divided and shredded. Before a fascinated and occasionally distraught audience of friends, fellow-artists and strangers drawn in from the streets, he and his assistants placed all his personal possessions on a conveyor belt. In February 2001 the British artist Michael Landy took over an empty department store in central London.
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