Based on the face-to-face of even and uneven pages, this original publication confronts the results of the auction sales of 300 artworks. This publication also raises the question of the reference and its appropriation.

Pick & Hammer by Claude Closky puts into perspective Pick (choix) et Hammer (marché). As follows: page 16 one ‘IKB' d'Yves Klein ; page 19 ‘Bingo' d'Oscar Murillo ; page 20 ‘Blah Blah Blah' by Mel Bochner ; page 23 'Bruce Lee: Fighting Spirit' by Yan Pei Ming ; page 34 ‘The Graces' by Joel-Peter Witkin ; page 37 ‘The Fake Rothko' d'Adrian Ghenie ; page 38 ‘sans titre (Mur de brique)' by Victor Vasarely ; page 47 ‘Triple Elvis' by Jeff Koons ; page 50 ‘Empreinte de pinceau n° 50' by Niele Toroni ; page 73 ‘Picasso' by Kang Hyung-Koo ; page 74 ‘Les Beatles' by Robert Freeman ; page 79 ‘Keep it Spotless' by Banksy ; page 98 ‘Self Pietà' by Sam Taylor-Wood ; page 101 ‘Moona Lisa' by Nick Walker ; page 112 ‘Art (Positive and Negative)' by Andy Warhol ; page 117 ‘White Electric Chair' by Ivàn Navarro ; page 136 ‘Iron Curtain ; Wall of Oil Barrels' by Christo & Jeanne-Claude ; page 141 ‘Kitsch Mao No. 13' by Feng Zhengjie ; page 144 ‘Pioneer Girl' d'Alexander Rodchenko ; page 155 ‘YE$' by Tim Noble and Sue Webster ; page 168 ‘Pandas' by Wu Zuoren ; page 191 ‘My Frida' by Youssef Nabil ; page 200 ‘Asteroid Collision' by Chris Foss ; page 211 ‘Barnett Newman: the Paintings' by David Diao ; page 212 ‘Stock Market ; Tokyo' by William Klein ; page 243 ‘A B ; Courbet' by Gerhard Richter ; page 254 ‘Tableau clous' by Bernard Aubertin ; page 257 ‘Spiritual America' by Richard Prince ; page 262 ‘Nostalgic Poster (Pravda — Coca Cola)' by Milan Kunc ; page 271 ‘The First Red Yellow and Blue' by Mary Heilmann ; page 274 ‘Jackson Pollock' by Hans Namuth ; page 291 ‘Peek-a-Boo Raven #2' by Mel Ramos ; page 296 ‘Abstract Painting' d'Ad Reinhardt ; page 301 ‘The Maids-in-Waiting' by Salvador Dalí.