In 2007, Martin Le Chevallier tells his gallerist (Grégoire Maisonneuve) that he’ll be making a “piece of fair merchandise” for the FIAC art fair in Paris. He designs a polyptych in wood consisting of sixteen panels executed by a painter. Each panel evokes an element in the program of Nicolas Sarkozy, elected French president five month earlier. For the artist, the introduction of such a political object into a contemporary art fair is in itself a site-specific intervention.