In 1997, GABOR BAKOS started his “artistic project of unforeseeable length” entitled PPP (Personal Press Project), in which he explored the place of the artist in society, the value of art, its economic role, and the relationship between the artist and money, using various means and forms. With the methodology of sociological and marketing research, he used questionnaires to investigate the issue of the artist’s honorarium, which has given rise to his work Urna Honorarii. In 1997, he exhibited the first version of the urn for collecting artists’ fees at the Bartok 32 Gallery. It was modelled on a church bier in the wall, which invisibly absorbed donations on one side and returned the money on the other. Bakos imagined the first version as a piece of public furniture, but soon developed the project further, looking at the issue in relation to contemporary art institutions. He prepared a questionnaire, which he sent to the heads of contemporary art institutions, asking questions on the principle and practice of artists’ fees. At the same time, he designed the urn for collecting money and made the object itself, which he intended to place in contemporary art institutions. He published a report summarising his research, accompanied by a leaflet with info-graphics. The results were presented at an exhibition at the Liget Gallery in 1999 and were also available on the website of the now defunct online journal Éjjeli őrjárat. PPP raises thorny questions about the role and livelihood of artists, which have remained topical ever since, and to which the emergence of commercial galleries and the expansion of the range of collectors have not provided a satisfactory answer.