Albert Simpson’s work looks to appropriate clichéd artforms into aggressive social commentaries. By painting directly onto the image of a kitch styled work, he transforms the window onto the world concept into something much more profound. Simpson’s work looks to evoke the absurd within the age of digital art. His appropriation of older forms into new, social commentary aligns with the transformative artistic production suggested by Nicolas Bourriad in Postproduction: Culture as Screenplay (2000). Ducking the Convo engages in a type of subversive wordplay recalling Duchamp’s Fountain, 1917.