In its augmentation to multiple image objects the edition investigates imagery as items of artistic and perceptive work: within its term work oscillates between product, labour and employment. The materiality provides in turn a resonant body for this context: The different colors of the prints originate from other print productions of various artists and where costumly mixed but remained as left-overs in the printing workshop. The artist frames have partly a history as spacious accessible installation from simple lumber as well as dismantled fiberboard interior of the artist’s studio. The ambiguity of the alleged unavailability creates an inversion of image and status display. Viewer as owners are rendered complicit.