occasional black-and-white photo: "the pictures probe the unconscious, tapping into sublimated perversions and spasms of violence." Selected works Working Is a Bad Job (1993): At the 1993 Venice Biennale he leased his allotted space to an advertising agency, which installed a billboard promoting a new perfume. Errotin, le vrai Lapin (1995), in which he persuaded his gallerist Emmanuel Perrotin to wear a giant pink rabbit costume shaped like a phallus to Cattelan's gallery opening Another Fucking Readymade (1996): As a profound example of a found art hall; for an exhibition at the de Appel Arts Center in Amsterdam, he stole the entire contents of another artist's show from a nearby gallery with the idea of passing it off as his own work, until the police insisted he return the loot on threat of arrest. Turisti (1997), taxidermied pigeons and fake pigeon feces exhibited in the Italian Pavilion at the Venice Biennale of 1997 In 1997, at the Consortium in Dijon, Cattelan dug a coffin-shaped hole in the floor of the museum's main gallery. Mother (1999); at the 1999 Venice Biennale, Cattelan executed this piece, a project that involved an Indian fakir, who practiced a daily ritual of being buried beneath sand in a small room, with only his clasped hands visible. Untitled (2001), installation created for the Museum Boijmans Van Beuningen in Rotterdam that depicts the artist peering mischievously from a hole in the floor at a gallery of 17th-century Dutch masters. Him (2001): a sculpture resembling a schoolboy kneeling in prayer, except that the head has been replaced with the realistic likeness of Adolf Hitler. As part of the 2001 Venice Biennale, he erected a full sized HOLLYWOOD sign over the largest rubbish tip on Palermo, Sicily. La rivoluzione siamo noi (We Are The Revolution) (2000), features a miniature Maurizio Cattelan, dangling from a Marcel Breuer–designed clothing rack. In this depiction, Cattelan contrasts the German artist Joseph Beuys statement, "every man is an artist", with his own, "I am not an artist". Don't Forget to Call Your Mother (2000), is a photograph by Cattelan that was utilized as a show invitation card, upon its introduction, by the Marian Goodman Gallery in New York City. "The sign ironically reminds customers of their mothers' worries each time they approach the bar to drink...in mimicking this stern parental directive, the sign draws on attitudes regarding authority, independence, and disobedience" (Susan Thompson). Daddy,