Thus, even inconspicuous themes often disappearing under the layer of great history, folklore myths or cults of personalities are given space. They become part of new fictitious museum exhibitions in the gallery environment, drawing not only on local archives, but also on the stories of seemingly banal things that surround us on a daily basis. We do not understand the museum in the midst of the gallery space as a fulfilment of the intentions of ethnographic, anthropological or art-historical research. It is primarily about the use and reflection of museum and gallery strategies by artists who create new environments and interpretations for particular artefacts. The traditional division of the roles of curator/curator and artist/artist becomes blurred in the case of the museum's work as a medium, and the placement of a painting on the wall becomes as important a gesture as the artist's gesture on the painting.

The exhibition of authorial concepts in the form of extended museum exhibitions, free islands, independent exhibition spaces naturally plays with the magic of mystification, the moment of surprise or humour. He works with speculative versions of museums in order to explore the effects inherent in the architecture of the museum itself: the glass, the diorama, the display case or the pedestal. He discusses their influence, power or spectacular significance.