The art market related debates surrounding one of these works, and the art-historical aura created around the mischievous smile of the other, seem to have permeated the concepts Ozmenoglu deals with in her practice. The uniqueness of the work of art, its self-appointed ''value'' and commodity character are among the fundamental ''concerns'' the artist continually embraces in her works. She subjects the market value of art to some kind of experiment with the canvas that declares ''Definitely not made for museums'' or with the eye-catching red neon work repeating the cliche, ''Sex Sells''. In her works, local cultural signs, phrases and reminders are juxtaposed with references related to global consumption; content and material are engaged into a playful dialogue. While referring to the legacy of art history, Ozmenoglu engages materials and techniques that are in wide use today through the original methods she employs to create her individual path as an artist. This book promises a ''guided tour'' steering around the thematic and conceptual lines in her production from 2006 to 2012, the period of transition between her ''student'' and ''studio'' years.
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