“There are prisons for thieves, museums for artists.” So announced Jean Tinguely (1925–1991) when, in 1988, he acquired a disused factory in La Verrerie, between Fribourg and Lausanne. Within four years he set up his “total anti-museum” there with boundless energy. He called the factory the “Torpedo Institut” and transformed the 3,000-square-metre industrial hall into his studio — at once workshop, theatre stage, artwork and exhibition space. In the vast dark halls Tinguely exhibited not only his own machines and sculptures but also works by Saint Phalle, Aeppli, Luginbühl, Spoerri, Vautier and others. His anti-museum was a place with unpredictable opening hours and unfathomable admission conditions, constantly evolving and governed by its own rules — essentially a total work of art. After Tinguely's death it was dissolved against his testamentary will; it appears in no catalogue raisonné and is scarcely mentioned in the discourse on the artist. This publication gives this anti-museum its due place in the late work of the Swiss artist, attempting for the first time to reconstruct it in its entirety.