An inner room, sectioned off from the main exhibition hall by lengths of cheap fabric in a colorful ’50s pattern—this was Thomas Hirschhorn’s U-shaped Très grand buffet (Grand buffet), a nearly room-sized, stepped construction covered with a shimmering layer of tinfoil and laden with a vast number of cellophane-wrapped objects. Resembling delicacies from a gala dinner or raffle prizes, these objects were in fact small collages on cardboard, inevitably conjuring up the worn signs, clumsily handwritten, that beggars wield, telling their life stories or urging passersby to give them money. Here,