"Deaddies": a sarcastic-sounding neologism that can be found in no dictionary, but is by now well established in American slang. Its lexicographic roots stem from both the father and death, thereby providing a convenient shorthand for the Oedipal complex, while at the same time sounding cute when spoken out loud. Tobias Rehberger took this word as the name for his exhibition in Turin, and he takes it again as the title of this book. From his earliest works thorugh his most recent, the span of which is represented in this publication, Rehberger has perplexed viewers by confronting them with his constant production of new and unusual methods of art making. Uncategorizable in their ever varying style and medium, Rehberger's works share an existence as open communication systems, in both their production and their reception. Often reflecting the artist's preoccupation with his personal environment--his friends, other artists, gallery owners, and art collectors--Rehberger's installations create public spaces for unexpected but familiar interractions, questioning context, society, and environmental issues.