One of Wall’s theses is that the fusion of art and non-art is in a sense an illusion, a mimetic operation that leaves the institutional art context fully intact. Non-artistic phenomena, including various forms of economic and social activity, make their ‘second appear- ance’ in, or rather as, art. Artists and curators appropriate these activities without actually having to leave the institutional domain of art. The heteronomy of contemporary art is, in Wall’s term, a ‘pseudo-heteronomy’
