I use museums and galleries and the white cube with the aesthetic language it comes with. That means I use the authority of a museum in labeling, in putting things in vitrines, in showcases, in lighting, in the space, and objects will have — that clearly it doesn’t really matter what object it is. ((Caravan Project, Certain Aesthetic)) You perceive it as an artwork, and it goes back to Duchamp, of course. ((The Happening)) And in the spaces that are off-site, I don’t care at all about such a setup. In the opposite, I try to great lengths to set something up that is so hyper-realistic, filled with this decorative and a mask, and claustrophobic that’s very oppositional presentation, and I think what it allows is because it has no labeling, because often if you introduce it as a discovery, people have no idea that is an Iris Häussler artwork. ((Extremely Novel)) What is actually nice, because I managed to fly a lot beneath the radar, is that when they come across these discoveries, as I would, if I would be the visitors, they feel allowed, permitted to have an own opinion, to make something out of that, what they come across, to feel entitled to interpret and to value the things that are in front of them.