From 1968 to 1975 Broodthaers produced large-scale environmental pieces that reworked the very notion of the museum. His most noted work was an installation which began in his Brussels house which he called Musée d'Art Moderne, Départment des Aigles, containing different representations of eagles in glass cases that were accompanied by signs that asserted "This is not a work of art", implying that museums obscure the ideological functioning of images by imposing illegitimate classifications of value. This installation was followed by a further eleven manifestations of the 'museum', including at the Kunsthalle Düsseldorf for an exhibition in 1970 and at Documenta 5 in Kassel in 1972. In 1970 Broodthaers conceived of the Financial Section, which encompassed an attempt to sell the museum "on account of bankruptcy." The sale was announced on the cover of the Art Cologne fair catalog in 1971, but no buyers were found. As part of the Financial Section, the artist also produced an unlimited edition of gold ingots stamped with the museum's emblem, an eagle, a symbol associated with power and victory. The ingots were sold to raise money for the museum, at a price calculated by doubling the market value of gold, the surcharge representing the bar's value as art. In 1974, Broodthaers launched three separate exhibitions in the same week, each consisting of a new type of installation artwork he referred to as "décors". The venues of these exhibitions were Wide White Space in Antwerp, Catalogue-Catalogus at Palais de Beaux-Arts Brussels, and Eloge du sujet at Kunstmuseum Basel. In 1975 Broodthaers presented the exhibition "L’Angelus de Daumier" at the Centre National d’Art Contemporain in Paris, at which each room had the name of a color. In La Salle Blanche (The White Room) (1975), a life-size copy of a room and a half in Broodthaers' home in Brussels, the wooden walls of the empty, unfurnished rooms are covered with printed words in French—such as a museum, gallery, oil, subject, composition, images, and privilege—all intended to examine "the influence of language on perceptions of the world and the ways museums affect the production and consumption of art. For such works, he is associated with the late 20th-century global spread of both installation art as well as "institutional critique," in which interrelationships between artworks, the artist, and the museum are a focus. Indeed, Broodthaers' Musée d'Art Moderne, his "first fictional museum," allowed him to simultaneously posture as an artist, director, curator, and trustee in a self-reflexive examination of the order and prescriptions implicit in the production of museum exhibits.