Maurizio Cattelan, Untitled, 1999

Embodying the very real struggle to remain vertical this Monday morning is Maurizio Cattelan‘s gallerist Massimo De Carlo, gaffer-taped to the wall of his own Milan gallery for the opening night of the controversial Italian artist’s 1999 exhibition, A Perfect Day. Fortunately for De Carlo, the performance—described by Galerie Perrotin as a sort of “grotesque but not less striking crucifixion”—was a one-off event; while fortunately for everyone else, it was captured on camera for posterity.