For his show at the Gallery Emmanuel Perrotin in 1995, Cattelan worked with a cartoonist to design a costume which would communicate the true nature of his gallerist, a notoriuos womanizer. Perrotin was obliged to wear the costume for the entire lenght of the exhibition. Entering the Gallery, the viewer was thus welcomed not by a conventional gallerist but by his "essential self".
"On multiple occasions Cattelan has directly implicated his gallery representatives in the work. For the first of these projects, "Tarzan & Jane" (1993), he had the owners of Galleria Raucci/Santamaria, Naples, dress up in lion costumes for the entire run of his solo exhibition. Next, he collaborated with a cartoonist to develop a costume for his Parisian dealer Emmanuel Perrotin, designed to reflect his playboy persona. In "Errotin, le vrai lapin" (Errotin, the true rabbit, 1995), wore a pink rabbit costume that resembled an oversized penis and testicles in the gallery every day of Cattelan's show. For "Untitled" (1999), which was originally titled "A Perfect Day", Milan gallerist Massimo De Carlo was affixed to the gallery wall with duct tape during the exhibition's two-hour opening. Though amusing for the event's attendees, the situation took a more serious turn later in the night when De Carlo was rushed to the hospital after suffering from a shortage of oxygen.
In these works, the gallerists, whose usual role is to promote the artist and sell his art, embodied the intervention, a gesture that collapsed the layers of the market by incorporating the middleman. By putting his dealers in awkward and often demeaning positions, Cattelan also altered the power dynamic between gallerist and artist."
Extract from "Maurizio Cattelan: All", curated by Nancy Spector, Solomon R. Guggenheim Foundation, New York, p. 193-194, 2011