At first sight, Ane Mette Hol’s exhibitions appear as precisely curated assemblages of inconspicuous ready-made objects. These “worthless” and anonymous things from the art world, such as rolls of packing paper, cartons, sketchbooks, notepads, or wrapping paper, appear to be given an “auratic” enhancement solely through Ane Mette Hol’s curatorial intervention in the white cube of the gallery – totally in the sense of Marcel Duchamp. However, each work by Ane Mette Hol is in fact a simulation of a ready-made. For each object, film, or installation is a very time-consuming, handmade drawing. In this play with the simulation of reality, a tension emerges between individual authorship and anonymous copy, which the poet Kenneth Goldsmith called “non-creativity as creative praxis.” Ane Mette Hol’s drawings are not “expressive” in the sense that one would recognize her “handwriting,” and yet her gaze and personality are “inscribed” in the works through the time-consuming production processes. The alleged neutrality of the works is literally “individualized” by Ane Mette Hol’s physical work process and attributes new levels of reading and seeing to the “false ready-mades.”