For approximately thirty years, Louise Lawler has aimed at analyzing the mechanisms, rules and rituals that define the distribution and reception of art. In her photographs, she literally reframes the works of other artists. Rather than being centred on the appropriated artworks themselves, however, her images are concerned with the surrounding spatial, social and economic conditions: For instance, Lawler shows how art objects are arranged in museums, kept in storages and private appartements as well as their handling during the set up of an exhibition. By focusing on these sujets, Lawler uncovers the chief parameters of the contemplation and appreciation of art. For “Texte zur Kunst” Lawler has conceived a digital print entitled „Discernible Difference“, which is based on her wall piece “Hedge Fund (Here’s Looking)”. At first sight resembling an abstract-expressionist structure, the image displays a detail of a diamond dust-covered portrait of Joseph Beuys by Andy Warhol from 1980. This work was publicly displayed the last time during the auction at Sotherby’s New York in May 2008, where Lawler took her photograph. In today’s perspective, this vendue marked the climax and conclusion of the last art boom, when a new type of investiment collector became omnipresent, the so-called hedge fund manager. Their speculative purchasing behavior was often seen as the one and only, less self-critical explanation for the current economic crisis that also affected the art market. Lawler’s work functions as an edition and unique piece at the same time. During the production, the colour scale of each print will be shifted around 3°, so that the series ultimately covers the whole range of tonal values. Therefore, the single sheets differ from each other, a conceptual specification of the edition indicated already in the title of the work.