Artists today are smugglers. Recycling both real and fictional images, their proposals are no longer artworks or even art objects, but rather situations to be lived, put to the test and experimented with collectively. Analyzing contemporary art works as authorless 'hyper-artworks', post-colonial critic and theorist Ackbar Abbas argues that narration emerges as a potent aesthetic force and that all forms of documentation are themselves interpretations open to new and multiple readings.