For such a typically upbeat artist, Navin Production’s SUPER(M)ART series, which began with the 2002 installation at Paris’s Palais de Tokyo, was a pessimistic parody in its projection of the future condition of art. Sceptical over the proliferation of biennale “franchises” being set up everywhere, and the connection-based mentality of art organisers, the project intimated that art is going to suffer in the long-term with audiences becoming increasingly despondent as the marketing of art becomes akin to shopping at a (m)art. Created in collaboration with German art historian Helen Michaelsen, the scene is set 50 years in future with the art world having collapsed and ceased to exist due to a lack of public interest. Navin Rawanchaikul, now an elderly retired artist, encounters and has an ideological battle with Curatorman, a new breed of art protagonist who markets art franchises as SUPER(M)ART. Under his multinational company, Curatorman Inc., his business is to feed hungry new markets with instant art trends and (m)art products.