By appropriating highly composed and executed subjects that have withstood curatorial vetting, Osher eliminates the issue of the contents’ significance. Similar to the appropriation of commercial icons by Pop artists, the ready-mades of Marcel Duchamp, and the compositions of many Hip Hop artists, this body of work questions assumed relationships within the art environment as well as independently sustaining its own aesthetic and narrative presence. His art is not documentary in nature but is experiential, object oriented, where content expands beyond a narrative subject matter to include the physical and conceptual experience of viewing.