The Zimbabwean hundred-trillion-dollar note (the largest denomination in legal tender history, with fourteen zeros, which at one stage could not cover a bus ticket) multiplied across a two-metre canvas in silkscreen and collage on Yamabiko Hosho paper. Each note appears in a different colourway: the Warhol repetition makes the hyperinflation visible as both horror and absurdity. The notes are simultaneously worthless and collectors’ items; the work is both.