In 1916 Vladimir Tatlin organised in Moscow the group show The Store. It was the last in a series of provocative and often scandalous futurist exhibitions set up by different artists in Moscow and Saint Petersburg since 1910; it was the immediate follow-up to the Last Futurist Exhibition of Paintings 0,10 (zero-ten). But, as its title suggests, The Store’s provocation was directed less at promoting a new trend in modern art than at exposing the long-standing opposition between artworks and everyday objects, between aesthetic and market value. Its ultimate challenge, I would argue, lied in the attempt to unravel these cultural distinctions.