Following the formal tradition of works by Ed Ruscha, like "26 Gasoline Stations" and "Every Building on the Sunset Strip," Thirty-six Potential Audis questions the definition of legitimacy that art has to overcome to be regarded as such. The book is made up of two sections, each containing 16 photographs of a street segment. The first was produced by Tomazin, the second was outsourced to another artist, to be done in my name. Both follow the same algorithm which dictates the final product: both Tomazin and the other artist listened to the song "Djomla KS & Nixx in Nikita - Cekam te u Budvi," where during the song the word Audi is repeated sixteen times. The idea was, that each of these sixteen impulses leads to a snapshot, 36 altogether. The two segments are both accompanied by a series of commercials, photographs of billboards taken by me with no postproduction done to the pictures. The idea is a simple question: What is a commercial - we are all used to their omnipresent function in any media source, regardless if newspaper, TV show, website_ And most importantly, has the function of the commercial in media become a part of the media or is it still regarded as a foreign object and how do we perceive such a commercial in an art work, where our perception of the viewed is much more critical and aware.