Through her installations, Jospehine Meckseper frames consumerism as a form of protest of choice; her products become activated beyond their saleable function by their staged conjunctions to both contemporary zeitgeist and art history. In The Complete History of Postcontemporary Art, Meckseper utilises the stream of consciousness process of 90s scatter art: as products stand in for themselves humorous associations emerge, as stuffed rabbit, upside down pinups, and patterned stockings wittily implicate Beuys, Baselitz, and Vasarely as models of cultural consumption.