German artist Thomas Demand is known for recreating photographs by making three-dimensional, cardboard maquettes that he then photographs. The feeling that this makes him a culprit of theft in his artistic practice partly inspired the exhibition, 'L'image volée' (The Stolen Image), that he has curated for the Fondazione Prada in Milan.

“I thought about taking pictures from other people, which I do all the time, and making a show where I collect work to put in one room like an imaginary museum, which is about the aspects of taking, borrowing and stealing,” Demand tells DAMn. Included is Demand's 'Vault' (2012) of a storage room in the Wildenstein Institute in Paris where around 30 artworks, including Degas drawings, which were thought to have disappeared were found by police.

The show brings together 98 artworks by over 60 artists from 1820 to the present day. Ingres made a replication of Raphael's self-portrait in the 1820s. Pierre Huyghe bought a fake Modigliani by the forger Elmyr de Hory. Maurizio Cattelan's framed police report about an invisible artwork being stolen from his car is conceptual cleverness. Sophie Calle's photographs of the belongings in guests' hotel rooms illustrate the intrusion of photography.

A section on collages by artists such as Wangechi Mutu and John Stezaker exemplifies how collages are made by destroying pre-existing imagery. “You cut into something else to make a collage, and in the internet today everything is becoming a collage because everybody is taking from somewhere else and recontextualises it,” says Demand.

The exhibition follows on from a previous one that Eliasson curated at Matthew Marks Gallery in New York in 2011. Titled 'La Carte D'Après Nature' and named after a journal published by Magritte, it featured paintings by Magritte as well as sculptures, photographs and films by numerous other artists.