| In 1979, Sherrie Levine rephotographed a selection of 1930s images by Walker Evans from one of his catalogues. Her works, first shown in her exhibition After Walker Evans, was a florid action performed to invigorate a discourse about gender relations, in addition to investigating the lines drawn around both copyright law and institutional systems of exhibiting photographic work. In 2007, Nicolás Guagnini dipped his balls in some paint then hefted them onto 77 pieces of art world ephemera. | 
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Tyler Mercer on Nicolás Guagnini
In 1979, Sherrie Levine rephotographed a selection of 1930s images by Walker Evans from one of his catalogues. Her works, first shown in her exhibition After Walker Evans, was a florid action performed to invigorate a discourse about gender relations, in addition to investigating the lines drawn around both copyright law and institutional systems of exhibiting photographic work. In 2007, Nicolás Guagnini dipped his balls in some paint then hefted them onto 77 pieces of art world ephemera.
The artifacts created by this action—pages from magazines, notes by artists, and photographs with a blotch in the shape of Guagnini’s nether parts—are collectively called 77 Testicular Imprints. The material thus marked is disparate but related: catalogues by Yves Klein and Hans Haacke, a photograph of Samuel Beckett, a Richard Price book, copies of Art in America and Artnews, and reproductions of an Oldenburg soft toilet and Manzoni’s Merda d’artiste.
