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Discusses Eduardo Paolozzi's series of 45 "Bunk" collages, made in Paris and London from around 1947 to 1952, which are often considered prototypical works of Pop art. In this article the author suggests that a certain amount of myth has accumulated around the series, particularly around the works' prophetic status, and presents new research which examines the construction of this myth, especially in light of Paolozzi's retrospective at the Tate Gallery in 1971 and the print series that was made from the collages shortly afterwards, through which the works are generally known. Some of the source material used in the collages is also examined, revealing a broader field of reference than the American magazines that attracted Pop artists in the mid-1950s. With reference to the physical condition of the original collages, concludes that behind both their creation and their replication as a print series in 1972 is an impulse towards preservation of the forgotten and the devalued, which was to become one of the most salient, yet unexamined, aspects of Pop art. (Quotes from original text)