In a gesture of happy fratricide, Avant Car Guard buried fellow artist Kendell Geers on a bleak winter’s day somewhere outside Boksburg. A photograph was taken to celebrate the occasion – Avant Car Guard Bury J.H.P ‘Kendell’ Geers – and a tombstone inscribed. J.H.P ‘Kendell’ Geers, it reads, 1967–1998. Below, the words Die Verlore Kind (the lost child, the prodigal son). Shortly after the burial, however, some inconsistencies became apparent. Indeed, by all accounts, Geers was – and remains – very much alive and is enjoying a successful art career in Belgium. (Kendell is the artist’s chosen name, and 1968 his chosen year of birth – the tombstone corrects him on both counts, indicating his nom de plume with inverted commas of unclear inflection). Why his fictional death took place in 1998 is anyone’s guess, as too is the date chosen for his burial nine years later. Regardless, the work is one of Oedipal revolt, a disavowal of influence – South Africa’s foremost conceptual artist, the original enfant terrible, buried by a band of upstarts.