At the heart of the oddly durable appeal of the found object is the pleasure of liberating something from circulation, ending its empty utility in a society organized on the principle of maximal instrumentalization. We love to contemplate such raids on the trash cans of Exchange As Usual and the beauty unwittingly generated by so profound an indifference to beauty. There is also the related seduction on an allegorical level: these gray, preterite objects, otherwise indistinguishable from countless others, have been found—mysteriously graced by election to the privileged class of the art object.