Montparnasse. In 1956, Hains met the art critic Pierre Restany at Yves Klein's home. Then, in 1957, he opened his first torn posters exhibition in Paris in collaboration with Jacques Villeglé. SEITA and SAFFA Beginning in 1964, Hains began splitting his artistic persona into two fictional artists: SEITA and SAFFA (acronyms for the Italian and French national companies for tobacco and matches) by displaying a giant box of matches illustrated with La Fontaine's Fable The Ass in Lion’s Skin at the Leone Gallery in Venice. SAFFA created reproductions of matchboxes produced by the Italian tobacco company SAFFA. His French partner, SEITA, only reproduced the French matchboxes produced by SEITA. The following year, Hains arranged an exhibition entitled Seita and Saffa: copyright by Raymond Hains at the Iris Clert Gallery in Paris. There, giant matchboxes were displayed, signed with the two acronyms Seita and Saffa, with Hains presenting himself as their agent. Also in 1964, during the Venice Biennale, Hains presented Biennale déchirée (Torn Biennial) and four years later the Biennale éclatée (Shattered Biennial): for which he deformed the catalogue covers of each National Pavilion through a prism of fluted glass. Macintoshages and Pavement Sculptures In 1997 Hains created his first Macintoshages. The term was coined from a motley formation of words such as “machin” (French for ‘thing’), machine, Macintosh, Marshall McLuhan and other analogies. Macintoshage brought computer-based texts and images closer together by manipulating them. Multi-window/text-image Macintosh arrangements were displaying on the screen, as well as computer tools developed. In an innovative way, texts and images were there the source for a project in constant progress: they could be virtually pasted or unpasted, opened in accordance with current affairs or even combined in the same way the unconscious mind would act in the process of dreaming. At the same time, Hains started working on a series of Pavement Sculptures. Equipped with his camera while strolling through the streets, Hains took pictures of certain details at construction sites; for example isolating a concrete block in which he sensed a potential sculpture. Select solo exhibitions 1948 Photographies hypnagogiques, Galerie Colette Allendy, Paris, Fr 1957 Loi du 29 juillet 1881 ou Le Lyrisme à la sauvette, with Jacques Villeglé, Galerie Colette Allendy, Paris, Fr 1961 La France déchirée, avec Jacques Villeglé, Galerie J, Paris, Fr 1964 SAFFA et SEITA, Galleria del Leone, Venice, It 1964 La Biennale déchirée di Raymond Hains, Galleria Apollinaire,