 By the end of the 1980s, the duo had expanded their repertoire to embrace an iconography of the incidental, creating deadpan photographs of kitsch tourist attractions and airports around the world.For their contribution to the 1995 Venice Biennale, at which they represented Switzerland, Fischli and Weiss exhibited 96 hours of video on 12 monitors that documented what they called "concentrated daydreaming"—real-time glimpses into daily life in Zürich