Sarah Browne’s work uses ‘economies’ as the dominant metaphor for social and political relationships as well as classic minimalism – for instance, in the disparities in the machine-produced object and its status as a ‘useless’ object of non-definable value. Her artistic techniques and materials reference a milieu of homeliness, housework and personal traces. The emphasis of the edition of three metallic doorstops for the Daimler Art Collection is also on the idea of a crafted, functional ‘everyday sculpture’ that fits invisibly into the room while in use. This also gives the exhibition’s title an ironic double meaning. Once it has been perceived as an artistic contribution, the door stop demonstrates the elements of wit and understatement that Browne considers the essence of Eileen Gray’s design philosophy. It also represents a concrete answer to the themes dealt with in the book that forms the other part of her artwork – concept, seeking, loss and disappearance.