‘I, The Artwork’ (2016) was borne of Khalili’s frustration when an Israeli collector sought to purchase his work. Concerned that it might be shown or associated with pro-occupation institutions, Khalili worked with a lawyer to draft a contract—given as a “Deed of Ownership and Condition of Existence”—that forbade the artwork to be owned or controlled by an occupying or settler-colonial power, or supporters thereof. With the phrase “I, The Artwork,” Khalili vested the contract—exhibited as a photograph—with corporate personhood, assigning to it the moral rights usually held by an author.