“Ironically, his destiny was to sample and appropriate the entire history of art before himself becoming a legitimate historical reference. But, alive, he was undoubtedly more like a Super Mario moving through history like the levels of a video game, flattening content on the screen of his work, even ‘collaborating’ with deceased artists”
(Daniel Birnbaum, Exh. Cat., New York, Matthew Marks Gallery, Michel Majerus, 2014).