This page gathers bodies of work that are not merely collections of discrete pieces, but institutions unto themselves — self-governing systems with internal logic, duration, and mythic infrastructure.

The concept draws from precedents such as Stuart Brisley’s Georgiana Collection (1979–86), a fictive institution encompassing performance, video, sculpture, and installation, and The Cenotaph Project (1987–91), he developed with Maya Balcioglu during a residency at the Imperial War Museum. These works interrogated the structures of commemoration and institutional memory.

Similarly, the 1983 exhibition and publication Museums by Artists, curated by AA Bronson and Peggy Gale for Art Metropole, featured artists like Marcel Broodthaers, Daniel Buren, Hans Haacke, and General Idea, who constructed their own museums or institutional critiques, challenging traditional museum frameworks.

In this lineage, my works such as Fortress Europe (1990–ongoing), The North (2006 and ongoing)and English Anxieties (2009) function as autonomous institutions. They unfold over decades, comprising performances, publications, installations, and digital works, each governed by its own internal systems and evolving logic.

These are not retrospectives but living institutions — evolving constellations that resist closure, inviting ongoing engagement and interpretation.