SAFFA created reproductions of matchboxes produced by the Italian tobacco company: The SAFFA. His French partner, SEITA, only reproduced the French matchboxes produced by the SEITA. The following year, Hains arranged an exhibition entitled “Seita and Saffa: copyright by Raymond Hains” at the Iris Clert gallery in Paris. Giant matchboxes were displayed, signed with the two acronyms Seita and Saffa, “fictional and incendiary” artists, with Hains presenting himself as their agent. Clert provided for two firemen to be on site to strengthen the rendering. With his play on roles and identities, Raymond Hains symbolically set fire to anything that could make him only known for working with Affichisme, Palisades or New Realism. In 1964, during the Venice Biennale, he presented the so-called “Biennale déchirée” (“Torn Biennial”) and four years later the “Biennale éclatée” (“Shattered Biennial”): for which he deformed the catalogue covers of each National Pavilion thanks to a prism of fluted glass.