On entering the store, the profusion of objects that greeted the viewer formed an unsettling vision of excess rather than the seductive delights of commodity dreams awaiting purchase. For, as well as his choice of site, Landy had retained the trappings of the consumer environment: the escalators, mirrors, and “please pay here” signs. He had, however, ensured that the consumption experience these visitors were participating in was predominantly an immaterial one-consuming an art experience rather than material objects. Landy was most insistent that nothing, “not even a catalogue,” could be purchased at the site.2