Photo:AFP

Maurizio Cattelan’s Comedian: A Banana That Keeps Disappearing—and Reappearing

In a twist that feels both absurd and prophetic, Comedian—Maurizio Cattelan’s instantly iconic banana taped to a wall—was devoured once more by a museum visitor at Centre‑Pompidou Metz in France on July 12, 2025. This marks the third known instance of someone literally ingesting the artwork. The gallery’s swift response—replacing the banana within minutes—and Cattelan’s amused response underscore the provocative humor at the heart of the piece. 

What Happened at Centre‑Pompidou Metz

• A visitor took the banana from the wall and ate it during the exhibition Dimanche sans fin, which features Cattelan’s work alongside the museum’s collection. 

• Gallery staff responded quickly, replacing the banana within minutes. No police involvement was necessary. 

• Cattelan remarked wryly that the individual mistook the banana for the actual artwork—leaving out the essential peel and tape, which completes the piece. 

Why Comedian Matters: A Symbol of Art-world Absurdity

Created in 2019, Comedian is conceptual art boiled down to its very essence. A banana (costing mere cents) taped 1.6 meters high, accompanied by a certificate and display instructions—sold four months later at Sotheby’s for a staggering US $6.2 million. 

The piece critiques the speculative, performative nature of the contemporary art market. Its value lies not in the perishable fruit, but in the idea. Cattelan once said:

“The higher the price, the more it reinforces its original concept.”

The multiple banana-biting episodes are arguably part of the work’s intended life cycle, turning spectators into participants and the act of consumption into extended commentary.

Previous Banana Consumption Events

1. Art Basel Miami (2019): Performance artist David Datuna ate the banana in front of shocked attendees. He called it a “Hungry Artist” intervention, sparking global headlines. 

2. Leeum Museum, Seoul (2023): A student ate the banana and taped the peel back on the wall, confirming that for many, the piece is more snack than art object.

3. Sotheby’s Auction (Nov 2024): Buyer Justin Sun, a cryptocurrency entrepreneur, ate the banana post-purchase, calling it tastier than expected. 

With today’s incident at Metz, the banana solidifies its role as perhaps the most-eaten artwork of the last three decades.

Choosing Perishability: Intentional and Illuminating

Cattelan built perishability into the work:

• The banana is a placeholder; the real art is the intellectual construct.

• Display instructions insist on regular fruit replacement.

• Ownership consists of a certificate of authenticity—not the banana itself.

Thus, when a banana is eaten, the work endures. Its symbolic value persists through regeneration and reproduction—like a modern-day flux.

Gallery Response and Public Sentiment

Centre‑Pompidou Metz treated the incident as business as usual. Security acted per protocol, and the piece reappeared unfazed minutes later. No charges were filed. 

Visitors and critics view it as a fascinating intersection of art, audience, and action—a spectacle of conceptual meaning. On Reddit, one user noted:

“The banana and tape can be replaced as needed… free banana.” 

What might on paper seem vandalism becomes, in Cattelan’s terms, performance art—a live extension of his critique on value.

Art History Context: Perishability, Participation, Provocation

Cattelan’s banana echoes a lineage of conceptual art:

• Fluxus artists used everyday objects to erode the boundary between art and life.

• Yves Klein’s “Leap into the Void” emphasized gesture over permanence.

• Cattelan’s 2016 18-karat-gold toilet (titled America) challenged notions of luxury and functionality in public space. 

Comedian follows suit: a brief encounter with culture that leaves lasting intellectual fallout—from Miami to Metz.

Impact on Art-World and Popular Discussion

• Market dynamics: The $6.2M price becomes absurdly justifiable as buyers buy the idea, not the produce.

• Digital and crypto crossover: Justin Sun’s purchase and consumption meld meme culture with blockchain-era razzle‑dazzle.

• Cultural discourse: Comedian prompts questions—what makes art "real”?—is the act of consumption a valid extension?

• Extremes of engagement: From curator to consumer, Comedian demands active rather than passive interaction.

Artist’s Perspective

Cattelan remains unapologetic and amused. In a recent interview, he expressed disappointment that the eater consumed only the fruit, not the peel and tape—hinting at the incomplete “experience”. 

He views his provocative gestures—like the gold toilet or the banana—as sincere inquiries into value, permanence, and audience participation, not mere gimmicks.

Public and Academic Reactions

Observers range from baffled to bemused. For die-hard traditionalists, it's mockery. But academic and student communities often frame it as a conceptual experiment, spotlighting how art is anchored in intent, certificate, and institutional validation—not raw materials.

Future of Comedian and Cattelan’s Legacy

With the Metz exhibit continuing until February 2027, the banana will be replaced regularly—and likely eaten again. The piece may spawn more imitators. Already, banana-themed merch, memes, and parodies abound. 

Cattelan has even hinted at reimagining his earlier gold toilet for the digital age, affirming his ongoing mission to test cultural borders. 

Art, Appetite, and the Age of Absurdity

Comedian is an art world lightning rod—equal parts sculpture, spectacle, and social experiment. Each banana-eating event completes the loop: object becomes action, consumer becomes participant, artwork becomes dialogue.

The Metz incident confirms that Cattelan’s provocations were never theoretical—the piece was born to be eaten, dissected, reposted, and debated. Its perishability is power, its value is ephemeral, yet unshakeably potent.