Over the past several years, Nedko Solakov has been working to dispel the aura that still seems to linger around fine art. Using irony as his dominant rhetorical mode, the Bulgarian’s interventionist installations expose many of art’s historical myths and undermine accepted conventions of its display, often to witty and poignant effect. For example, in 1999, Solakov put large black velvet quotation marks around several prominent paintings at the Museum for Foreign Art in Sofia, raising questions of authorship and originality in a single, elegant gesture. More recently, in 2001, he replaced a