Shifting boundaries between knowing and believing become a subject of analysis of the Bigfoot project by Tomas Daukša. He suggests two versions of the origin of the bigfoot figurines. The first one states, that the figurines were found by a man, who believes that they are made by bigfoot. That man found the first figurine of the bigfoot in the forest, and is sure, that it was made and left by the bigfoot, although he never seen the creature. The man started exchanging food for the figurines and gathered a big collection of bigfoot statues of various sizes and colours. And the second version says, that the artist makes the figurines himself and then claims that he got them from a man, who believes to be getting them from bigfoot. So the artist introduces himself both as an author of those objects, and as a medium between the viewer and the mysterious bigfoot, who made the sculptures. He develops a complex mythology of bigfoot community and their rituals, forms of communication with each other and the viewer. Referring to popular TV shows and documentaries about mystic or paranormal phenomena and using various narrative strategies, he fuses scientific facts and fictitious evident to create a hybrid system of narration and then tests its effect on art circles and gallerygoers. The result is not merely a study of spreading of knowledge and beliefs in real and fictional communities. Daukša also comments on broader issues of contemporary culture, offers insights on cultural production, reproduction and over production, questions the author’s status, and addresses the issues of art collecting and art market in general.