Was there a critical entry point into Cosima von Bonin’s reference-laden retrospective, or have we reached a historical condition in which the “handmade readymade”—a couture item especially manufactured for the museological context that also refers to the stream of mass-produced commodities—is all we have at our disposal? The exhibition’s title, “Hippies Use the Side Door. The Year 2014 Has Lost the Plot,” offered a heavy-handed hint. Since, for a time, only the side doors to the museum were open, anyone who accessed the building during this period was automatically branded a