Made by generations of artists from the 1960s to the present, the works were selected more for the creative process involved in making them than for their aesthetics, theme, period or affiliation with a movement. The works’ common denominator was "the consequence of a minimal gesture or thought". They were at once a form of disappearance, a quest for emptiness and a mise en abyme of art history. That simplicity, even self-effacement, was reflected in the show's simple, generic, neutral title, "Accrochage" (“Hanging”), which prompted visitors to look at and question what they saw. The lack of an imposed viewpoint or message left them free to interpret the works based on their personal sensibility and to weave real or imaginary links between them throughout the exhibition.
Twenty-one of the 30 artists featured in "Accrochage", including On Kawara, Philippe Parreno, Thomas Schütte, Nina Canell, Louise Lawler, Tino Sehgal, Niele Toroni and Pierre Huyghe, were presented for the first time by a Pinault Collection show.