In 1974 the Belgian conceptual artist Jacques CHARLIER documented all the exhibition openings he attended by means of photography. One year later he exhibited the result of that project for one single time at the Palais de Beaux-arts in Brussels after which the project was completely forgotten. More than twenty years later the German artist Thomas STRUTH started to produce monumental pictures of visitors in museums and on historical sites.  Although those huge color prints are the result of a completely different mindset, they bring the attention of the public to the same group of people: the spectators. The exhibition can be understood as the clash between two different visions on art around the same topic.