In Police Forks, Raimond de Weerdt appropriates an early twentieth-century police group portrait and disrupts its documentary authority through a simple yet unsettling surrealist intervention. The officers' faces are obscured by oversized images of table forks, transforming individuals into anonymous instruments of order, consumption, and control. The absurdity of the substitution recalls the visual logic of Surrealism, where unrelated objects are brought together to expose hidden psychological, social, and political meanings.