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Every bouquet is the package of “nature’s” beauty amped to steroidic artificiality by its mechanization under Capital’s fuel. Beauty produced by destroying natural significance given over to its industrialization. Flowers no longer natural rarities of amazing sensuality but disposable and instantaneous orgies. Of which De Rooij’s 95 variety bouquet is its endgame, numbers governing the bottom line (95 of any variety) over attunement to any individual heterogeneity of genus, species, taste, knowledge or sensitivity. It is to flowers what the frenzied visible of pornography is to sex; the natural giving way to industrial significance. Like 2.5 years of “Riots, Protest, Mourning and Commemoration” photographs, in their accumulation they speak not to individual situations but, through their ordering, instead render how a culture itself chooses to visualize and represent and thus define its concepts, and de Rooij within that, artificially cold, useful only for what can be conceptually extracted (produced) from it, by say a writer.