New York Magazine’s site is tickled by the story of the parakeet that is part of Edward Kleinholz’s The Wait installation now on view at the Whitney Museum. The animal’s inclusion in the work of art necessitates unusual measures on the part of the museum staff. But as Alice Gregory points out, the unusual is getting to be kind of usual:

It’s not uncommon for works of contemporary art to demand unexpected tasks of industry professionals. Damien Hirst’s formaldehyde tanks, for example, are moved by art handlers in biohazard suits. The compliance departments of large auction houses, such as Christie’s and Sotheby’s, have lawyers trained in endangered-species law. Art objects that incorporate plant or animal material (coral, ivory, crocodile skin, etc.) often require special licenses and certificates. International buyers are urged to check with their own governments about import requirements prior to bidding; the buyers are responsible for obtaining the necessary documentation, which relieves the auction houses of possible litigation.

Peetie the Parakeet, Art World Darling (Daily Intel/New York)