It has long been said that contemporary art is made from the residues of the semiotic hyperproduction that has turned culture into a giant flea market: Everything is a recycling of something that has been previously produced and abandoned, and is waiting to return to the sphere of circulation. That’s even more the case for Oriol Vilanova than it is for most artists. Extending Asger Jorn’s practice of aesthetic vandalism, Vilanova operates literally as a ragpicker. Every Sunday the artist arrives with religious punctuality at the market of whichever city he finds himself in—Brussels, Barcelona,