Left: Cloud operator shredding a customer’s money, BUREAU of CHANGE’s black cloud Micro Ichi interface at Yami NYC 2, Nov. 2016.
Right: Rhizome and exonemo’s micro-edition of the Internet Yami Ichi at NADA, March 2018.
Rhizome transforms BUREAU’s Micro Ichi New Orleans concept, a performative intervention emphasizing collective ownership and anti-commercialism, into a boutique of internet-inspired wares at NADA art fair in New York City.
In 2015, BUREAU popped up in the neutral ground of the New Orleans’ St. Claude gallery district to hawk our internet-ish things. Organized and produced with Caroline Sinders, we staged a “micro” version of the Internet Yami-Ichi, a global underground art event created by IDPW. The following year, BUREAU travelled to the Knockdown Center for the Yami in NYC 2, the biggest meetup of Internet Yami-Ichi venders from New York and around the world, and vended from from our handcrafted black cloud interface embellished in glitter, silver and gold.
Rhizome and exonemo, an artist duo behind IDPW gatherings, commercialized the concept originated in New Orleans for the 2018 New Art Dealers Association art fair in New York City. “While the Internet Yami-Ichi is usually vast in size,” writes Rhizome’s Laura Studabaker, “Rhizome’s edition–like the ‘Micro’ event held in New Orleans–brings together a curated selection of 50 products on display in a small booth.”
Rhizome, a New Museum affiliate and anchor tenant of the incubator NEW INC where exonemo also is member, has been following the history of the Internet Yami-Ichi.
Since its founding in 2012 by IDPW and Exonemo, Internet Yami-Ichi has generated fervent crowds to sample cottage-made, tangible WWW goods and services in cities across the world: Basel, Berlin, New York City, Sapporo, Tokyo, and beyond, including a curated micro-edition in New Orleans in 2015 staged by Bureau of Change.
Writing for Rhizome in 2015, Lucas Pinheiro called the platform “a gripping example of recent artistic experimentations with the materiality of the web.” The following year, a Rhizome Commission supported an edition of the event at the Knockdown Center in Queens.
Net art objects and ephemera have a long history: Mouchette advertised her first public appearance via flyers on Amsterdam streets in 1996 and Rhizome founder Mark Tribe curated an exhibition of net art ephemera at Moving Image Gallery in 2002. Printed or zazzled, watermarked or hand-stitched, this edition of Internet Yami-Ichi is for net art that continues in this vein, circulating through physical networks of exchange.
For various reasons—which we see as rooted in cultural economic and philosophical difference related to the NADA fair project aims—BUREAU works by New Orleans artists and technologists were not hawked in the NADA Internet Yami Ichi booth.
BUREAU of CHANGE, with Prospect New Orleans, presents two installations in P.S.4 at Urban Sidewalk Installation Space (US|IS), 441 Gravier Street at Magazine Street.
The exhibitions opened November 18, 2017 and continued for the duration of Prospect and beyond. Wombs Are the World closed on May 8, 2018 and BUREAU of CHANGE: Social Services is ongoing.
BUREAU of CHANGE: Social Services (P.S. Prospect)
Conceived in conversation with Prospect New Orleans, BUREAU of CHANGE will present a new installation in our evolving series Social Services.
Set against a backdrop of simmering international criticism of art festivals and biennials, layers of text will pose questions about the role of artists and their institutions—small to large, shoestring to rich, obscure to “famous”—as mediators or arbiters of history, culture and conflict.
Seen from the street, the newest version of Social Services aims to turn topsy turvy who we consider artists, art stars and prospects.
By design and resulting from its interactive, participatory qualities, BUREAU of CHANGE: Social Services is an ongoing project. It has exhibited at US/IS continuously since October 2014.
Nikomia Henry debuts her first solo exhibition at Prospect New Orleans
BUREAU of CHANGE delivers a fresh face to P.S.4 with Wombs Are the World.
New Orleans native Nikomia Henry debuts Wombs Are the World at Urban Sidewalk Installation Space (US/IS). In her first large scale public project, Henry collaborates with BUREAU’s Paige Allyn and 010her0 to bring one of her character portraits into three dimensions set to a soundscape, “A Song for Her,” by New Orleans singer-songwriter Caren Green.
Like much of Henry’s painting and drawing, the project is influenced by Black women in pop culture, R&B musicians and body symbolism in Hindu deities.
Installation view, Wombs Are the World at US/IS, November 18, 2017 – May 8, 2018
Wombs Are the World is a project of BUREAU’s interdisciplinary apprenticeship program in partnership with Delgado Community College. More information on how we work here.
441 Gravier Street at Magazine Street, New Orleans, LA 70130
Image credit: BUREAU of CHANGE: Amazing Grace (ft. Barack Obama), 2016. Video installation.
Rebecca Lee Reynolds describes BUREAU’s “Amazing Grace” in relation to U.S. history and 2016’s whirling images of tragedy, scandal, political maneuverings, and reimaginations of iconic symbols of civil and human conflict:
“This past year has provided plenty of material: Alton Sterling and the cops killed in Baton Rouge, the Confederate Monuments being voted for removal, the massacre at Pulse nightclub in Orlando, the approaching end of Obama’s presidency, Hillary vs. Bernie, the rise of Trump.”
Inside the small gallery by the elevators, I was drawn to Amazing Grace (ft. Barack Obama) (2016), a video work curated and directed by Margot Herster for the collective “Bureau of Change,” a kind of think tank dedicated to using art to create institutional change. The video features an African-American man wearing a Statue of Liberty costume—the character, played by Jason Brye, is a walking advertisement for Liberty Tax Service. The pale green robe is simply thrown over his jeans and sneakers when we meet him on a random New Orleans street, walking towards the camera and presumably to his job, holding the tax placards loosely in his hand. We watch this black Statue of Liberty doing his work on St. Claude Avenue at the base of the bridge to the Lower Ninth Ward, and then we follow him as he walks past the Jefferson Davis monument—a subtitle refers to the City Council’s vote to remove Confederate monuments from the city, listing this one as “scheduled for removal, date TBD.”
The walking tour is interspersed with footage of other Confederate monuments in town and protests, beginning with a Jan. 2016 protest at Lee Circle and ending with a July 2016 Black Lives Matter protest at Lee Circle after the Alton Sterling video was released. In between we see images sourced from public records: a still photo of Walter Scott in North Charleston, video of Tamir Rice, a historical photograph of the Emanuel AME church in Charleston, cropped photographs of the eyes of each victim of the Emanuel AME massacre. The graininess and poor quality of these last photographs is distracting, but it refers to their source in public records and the collective’s commitment to using public sources to expose problems. The intentional strategy includes the title’s reference to President Obama singing “Amazing Grace” during the eulogy for Rev. Clementa Pinckney, one of the victims of the Emanuel AME shootings in Charleston. Another performance of the song serves as a soundtrack to Brye’s walk through this landscape of racial violence.
As the video concludes, the screen goes black and transitions to Brye posed against a white background. Holding the plastic torch out in front of him like the actual Statue of Liberty, he slowly turns, as if shedding the light of liberty on his audience. There’s a sad irony to Brye’s character, performing the icon of liberty while we watch protests against the reality of a lack of equality. The hopefulness of the statue falls apart in face of this fake version, played as an advertisement, devoid of actual liberty or equality. And Brye’s eyes seem vacant as well, his body going through the motions. There’s an emptiness to the statues too, often ignored until protests this past year reinvested them with new emotion. The audio counters all of this coldness. The rap narration by K.G. fills in the blanks by expressing the lack of equality, while a beautiful rendition of “Amazing Grace” (credited to K.G.’s mom) counters that anger and frustration with a promise of redemption.
BUREAU of CHANGE & PhotoNOLA Festival of Photography Present:
BUREAU of CHANGE: Social Services (Revelry)
Viewable daily, 24/7
Street Dance Party December 10, 7PM to 9PM
New Orleans, Louisiana – BUREAU of CHANGE, in partnership with the PhotoNOLA Festival of Photography, is proud to announce the newest version of the ongoing interactive installation, BUREAU of CHANGE: Social Services. To experience how New Orleans does “revelry,” we invite you to our public art space, Urban Sidewalk Installation Space, during PhotoNOLA, the annual festival of photography produced by the New Orleans Photo Alliance.
On Saturday, December 10 from 7PM to 9PM, BUREAU of CHANGE is hosting a pop-up happening on the street in the form of an impromptu sidewalk party. Please come for drinks, music and street dancing.
By design and resulting from its interactive, participatory qualities, BUREAU of CHANGE: Social Services is an ongoing and evolving project. It has exhibited continuously since October 2014. Previous versions of the installation focused on pain, trauma, violence and bystander effects.
BUREAU of CHANGE: Social Services is an interactive intervention. It reframes internet-sourced images and reflects the interplay between what we are shown and what we see. Installed at US|IS, a series of false storefronts that act as containers for integrating art into the street life of the city, Social Services generates its own records. Visitors who choose to participate reflexively respond to selfie-ready mirrored windows, rather than any specific instruction, and photograph their own acts of observing to post to social media.
The newest version focuses on photographs that document and react to “revelry” as defined by New Orleans imagemakers.
ABOUT BUREAU of CHANGE
BUREAU of CHANGE is an education-centric lab for real art practice in New Orleans. We create, curate and exhibit socially and politically engaged work. Our process commissions artists and non-artists to collaborate on creative works aimed at inciting institutional change while studying social technology, digital media theory, interdisciplinary research and artistic production. We present our work at art institutions and community-accessible physical and digital spaces, as well as US|IS, our public art space at Gravier & Magazine Streets in downtown New Orleans.
ABOUT PhotoNOLA
BUREAU of CHANGE: Social Services is an official PhotoNOLA 2016 exhibition. PhotoNOLA, the annual festival of photography in New Orleans, proudly celebrates artistic excellence by bringing together photography enthusiasts, artists, and photography professionals to discover the best in world photography in the city of New Orleans, Louisiana. PhotoNOLA 2016 will include 40 exhibitions featuring the work of more than 100 photographers along with panel discussions, artist talks, photographic workshops, portfolio reviews, and the PhotoGALA at the New Orleans Museum of Art. The PhotoNOLA Festival takes place Thursday, December 8 – Sunday, December 11, 2016. www.photonola.org
BUREAU of CHANGE was invited to show a selection of our work at NOLATech Weeks’ 4th Silicon Bayou Startup Showcase on October 14, 2016.
BUREAU of CHANGE showcased video and animation projects, as well as some of research and technology-based works from our flatfiles. We engaged in a lot of conversations about community problems and solutions related to our most recent video, Amazing Grace featuring President Barack Obama. Amazing Grace is a rap gospel that memorializes black lives lost to killings motivated by racism and addresses the role of social media in the Black Lives Matter movement.
We also exchanged ideas about economic stimulus disappointments and prospects of the tech industry in Louisiana related to our 2013 animated documentary, *EDUCATION NOT GUARANTEED. The video, created by Louisiana State University faculty, students and alums details student cost of financial and curricular fraud in higher education, in particular unfulfilled promises of the digital media program within the context of Governor Jindal’s economic and workforce development initiatives and the national education crisis.
Conceived as a science fair-style networking event, the showcase was a great way to share what the BUREAU of CHANGE has been working on and make connections with other New Orleans tech organizations. The other startups in the showcase were Concierge Solutions, Limited Times, Locally, PatentDive, Shiftgig, Vaunt 3D. We had the privilege of meeting a few of the other participating startups Vaunt 3D and PatentDive. Vaunt 3D is a 3D scanning and print house located in New Orleans. They provide high quality photo-real 3D renderings for architects, investors, and interior designers. PatentDive builds software to help builders protect their products. The company’s products help inventors and attorneys create better patent applications.
We would like to give a huge thank you to everyone who attended the event, as well as NOLATech Week and The Landing Zone for hosting the 4th Silicon Bayou Startup Showcase.
About NOLATech Week
NOLATech Week is a weeklong, citywide, unconference, bringing together art, food, music, urban development, environmental and education communities. All events are intended to educate, engage, facilitate collaboration, or grow awareness for all businesses, organizations, and members of our community.
About BUREAU of CHANGE
BUREAU of CHANGE is an education-centric lab for real art practice in New Orleans. We create, curate and exhibit socially and politically engaged work. Our process commissions artists and non-artists to collaborate on creative works aimed at inciting institutional change while studying social technology, digital media theory, interdisciplinary research and artistic production. We present our work at art institutions and community-accessible physical and digital spaces, as well as US|IS, our public art space at Gravier & Magazine Streets in downtown New Orleans
Image credit: Installation view, BUREAU of CHANGE, Amazing Grace (ft. Barack Obama), in Louisiana Contemporary at the Ogden Museum of Southern Art, 2016 (left); Old Glory Holes and Pussy Riot by Dan Tague (right)
John D’Addario talks to curator Bill Arning, Director of the Contemporary Arts Museum Houston about top picks, including BUREAU’s Amazing Grace, for Louisiana Contemporary, which A’ddario defines as “the Southern-inflected version of New York City’s Whitney Biennial: an opportunity to examine the currents of the regional art scene through the lens of a particular curatorial eye.”
Arning says what he calls the “unlikely relevance of abstraction” and “obsessiveness and the power of accumulation” are two more common themes which links several of the works on display.
With dozens of works by nearly 50 artists, there’s a lot to take in. But Arning has some advice for visitors wanting to make the most of their visit to the show.
“Take the time to watch the two longish videos,” said Arning. “Both Xavier Juarez and Adrione Domino are gifted filmmakers and use their performers for great emotional effect.”
“BUREAU of CHANGE’s short video comments on the hope and frustrations of the Obama years, in which the president’s inspiring voice is countered by the horror of so many young black men either killed or incarcerated. On a more positive note, Paul Rizzo, Max Sizeler, Peter Horjus, Brian Barbieri, Chris Berntsen and Arthur Severio depict the joy of queer lives today and exploring so many new possibilities.”
August 6–September 18, 2016
Ogden Museum of Southern Art
925 Camp St, New Orleans, Louisiana 70130
Opening White Linen Night, Julia Street Block Party, August 6, 6-9PM
Hours: 10AM-5PM every day but Tuesday
Free to Louisiana residents on Thursdays from 10AM-5PM
BUREAU of CHANGE invites you to the New Orleans debut of our latest work, Amazing Grace featuring Barack Obama, at the Ogden Museum of Southern Art in the exhibition Louisiana Contemporary.
Amazing Grace featuring Barack Obama is a rap gospel media installation that memorializes Black lives lost to racially influenced violence and voices reactions among the living.
Soundtrack | Drawing from White House archives, the beat and chorus samples the President’s voice as he sings “Amazing Grace” for the eulogy of Pastor Clementa Pinckney, one of nine Black women and men murdered in 2015 at Emanuel African Methodist Episcopal Church, Charleston, South Carolina. Rap lyrics and jazzy gospel vocals by a New Orleans musician and his mother bring home emotions from Cleveland to Charleston to Baton Rouge, as well as the impact of viral witness video of police shootings in Black Lives Matter activism.
Visuals | A Black man costumed as the Statue of Liberty walks New Orleans’ streets, passing Confederate monuments, several of which City Council deemed a “public nuisance” after the Charleston Church shooting and slated for removal to a museum. Images sourced from news and social media online recall the lives and deaths of Tamir Rice, Walter Scott, Alton Sterling, Pastor Clementa Pickney, Reverend Sharonda Singleton, Myra Thompson, Reverend DePayne Middleton-Doctor, Cynthia Hurd, Susie Jackson, Ethel Lee Lance, Tywanza Sanders and Reverend Daniel Simmons, Sr.
ABOUT BUREAU of CHANGE
Based in New Orleans, BUREAU of CHANGE is a collaborative digital media studio that creates, curates and exhibits socially and politically engaged projects. We bring together artists and non-artists to collaborate while expanding skills in technology, creative communication and civic entrepreneurship.
ABOUT LOUISIANA CONTEMPORARY
Louisiana Contemporary is an annual event that promotes contemporary art practices in the state of Louisiana, provides exhibition space for the exposition of living artists’ work, and engages a contemporary audience that recognizes the vibrant visual culture of Louisiana and the role of New Orleans as a rising, international art center. Bill Arning, Director of the Contemporary Arts Museum Houston, selected works for the 2016 exhibition.
ABOUT THE OGDEN MUSEUM
Located in the vibrant Warehouse Arts District of downtown New Orleans, Louisiana, the Ogden Museum of Southern Art holds the largest and most comprehensive collection of Southern art in the world and is recognized for its original exhibitions, public events, and educational programs which examine the development of visual art alongside Southern traditions of music, literature, and culinary heritage to provide a comprehensive story of the South. Established in 1999 and in Stephen Goldring Hall since 2003, the Museum welcomes over 77,000 visitors annually, and attracts diverse audiences through its broad range of programming including exhibitions, lectures, film screenings, and concerts which are all part of its mission to broaden the knowledge, understanding, interpretation, and appreciation of the visual arts and culture of the American South.
JULIA STREET BLOCK PARTY
300–700 blocks of Julia Street and throughout the Arts District New Orleans
Free Admission | 5:30–9:30pm
Exhibition Openings at more than 20 Galleries & Museums
Cocktails; Cuisine from 25 Local Restaurants
Cox Cool Down Lounge
Image Credit: BUREAU of CHANGE, Public Records: Nothing But the Truth, 2013. Photo by Daniela Carillo.
Material Art Fair: Nurturing art, consolidating talent
by Daniela Carillo – February 17, 2016 – Mexico City
(Translated from Spanish by Google)
Material Art Fair has established itself as one of the most important emerging art fairs of our country, held from 4 to 7 February 2016 in Mexico City. Dedicated to exhibit art pieces of 64 Mexican and foreign galleries from 15 different countries: Japan, the United States, Colombia, UK, etc.
Some of the galleries present in this edition were: East Hamptom Shed, East Hampton; Eitoeiko, Tokyo; Alter Space, San Francisco; New Galerie, Paris; Seventeen, London; Yautepec, Mexico City among others.
For four days these galleries showed immersed in a maze of stands—a singular but original way to transport from one side to another place, but alternative, fresh and inclusive trends being swallowed up by the creativity of the “side B” art. The event offered an extensive art scene; three are noteworthy:
Galería Breve, directed by Begoña Irazabal and Jorge Rosano, which had his first appearance in MAF, emerged as a “pop up gallery” performing brief statements Saturday of each month, hence its name. Today’s main objective is the dissemination and support the work of emerging and established artists.
The artist Christian Castaneda, evinced his version, analysis and architectural interpretation, consisting of two – dimensional objects intended to form part of a living space. The installation, inspired by modern architecture and Brazilian Neo-Concrete art, explores the use of new materials while considering itself as a third portal or “limbo” in a common space.
BUREAU of CHANGE of New Orleans is not a traditional gallery, exhibiting art pieces of “new” technologies that were created by young artists fresh out of college with professionals who have different ways of creation. BUREAU of CHANGE gives them space for exhibition and creation.
Among the pieces on display, a figure of a black man dressed as the Statue of Liberty is a contradiction of representation of the same statue and mockery of the meaning of freedom. In turn, another installation was made up of pieces created from emojis and phrases they might represent, representing the symbolism of these to human emotions and feelings.
The Bikini Wax space dedicated to contemporary art was inhabited by three artists who are part of this group, open to people who wish to collaborate with the project. What exhibited at the fair were a number of objects related to facilities that have been made in the house and also objects that are part of the same place, a dichotomy between what you can see and what you see through slits.
As part of the celebration of this event various cultural activities were carried out such as performances by Julia Geröcs, Josep Maynou, Kim Ye, Wang and Christina Adrian Lee.
The third edition of Material Art Fair largely met expectations, with 50% higher sales in reference to the previous year, and it apparently will continue to grow in coming years giving viewers new editions of galleries and emerging artistic proposals.
Galería:
A Review of art week in Mexico
Yunuen Diaz – February 9, 2016 – Mexico City
(Translated from Spanish using Google)
“While Zona MACO fair is aimed at international collectors and consolidated capital, other spaces have decided to to expand our vision of art. For this piece, I will review other fairs and cultural events that took place in the week of contemporary art.
Material Art Fair. Located in the building of Expo Reforma, this fair opens its doors for the third time, the best yet. The spirit of the show seems to be placed in an intermediate space between art exhibition and festival with hundreds of young people walking through the labyrinthine spaces, floating between pieces of bright colors, music and scintillating pop atmosphere. The fair takes us for a moment to a different Mexico, as if a little piece of Manhattan had been implemented for a few days in our city. Many of the exhibiting galleries came from our American neighbor, perhaps because of the proximity or the need also there, as elsewhere, to open new markets. As the dollar swings dangerously on the edge of twenty pesos per dollar, a trip to our exotic land is attractive to anyone. So the spring break of contemporary art arrived and brought all that bohemia we love; this fair reminds us that art is alive. While it is clear that some galleries just opened their doors with rebellious spirits and have a long career still ahead, other spaces’ emerging projects show the strength of their proposals.”
…
“BUREAU of CHANGE New Orleans, along with other works, presented a video by [BUREAU of CHANGE] of a black man costumed as Statue of Liberty, with unconcerned American citizens showing discomfort by his presence.”
BUREAU of CHANGE exhibited at Material Art Fair, organized by Daniela Elbahara and Brett Schultz with Isa Natalia Castilla, February 4 – 7, 2016 at Expo Reforma in Mexico City.
Still from Amazing Grace (ft. President Barack Obama) by BUREAU of CHANGE, 2016
Material's design created confluences, for example, Caroline Wells Chandlers crochets on gender & queering w/ BUREAU's Amazing Grace
Selections from the BUREAU flat files at Material Fair
Hunger Striking to Let You Know We Are Still Here, Guantanamo 2013 by Justin Stroemple for BUREAU of CHANGE
Material visitors reposting Retweethearts, 2015
Retweethearts (I love you so FUCKING much) by Margot Herster for BUREAU of CHANGE, 2015
BUREAU of CHANGE's talk on interdisciplinary collaboration in education-centric practice
Steven Pedeaux gives free art at the art fair, Internet Fortunes, 2015
Internet Fortunes, 2015 by Steven Pedeaux for BUREAU of CHANGE
Running alongside Zona Maco, Material is the only exhibition of contemporary art in Mexico dedicated to emerging practices. BUREAU presented our newest work, Amazing Grace ft. President Barack Obama, a gospel-rap video. We also exhibited selected works from our flat files.
Amazing Grace ft Barack Obama interweaves performance of a black man costumed as the Statue of Liberty who walks New Orleans streets around Confederate monuments the city slated for removal after the June 2015 massacre of black churchgoers in Charleston, SC. Drawing from government archives, it’s beat and chorus samples President Obama’s voice singing Amazing Grace for the eulogy of Pastor Clementa Pinckney, one of nine killed at the church. New Orleans native K.G. wrote the lyrics, which he performs with jazz-gospel vocals by his mother. They bring home the emotions of Charleston, tensions around police shootings, and the role of viral witness videos in Black Lives Matter activism.
On Saturday, February 6th, BUREAU founder Margot Herster moderated a conversation in the Material Salon on interdisciplinary collaboration in education-centric practice with artist Steven Pedeaux and Professor Scott Sullivan.
Material 2016 included a rigorous selection of 64 galleries, non-profits and artist-run spaces from 34 cities and 15 countries.
www.material-fair.com
8eleven, Toronto
Galleria Acappella, Naples
Alter Space, San Francisco
American Medium, Brooklyn
Galerie Rolando Anselmi, Berlin
Arturo Bandini, Los Angeles
Beverly’s, New York City
Bikini Wax, Mexico City
Bosse & Baum, London
Buenos Tiempos, Int’l, Brussels
BUREAU of CHANGE, New Orleans
CACTUS, Liverpool
CARNE, Bogotá
Casa Imelda, Mexico City
City Limits, Oakland
Clifton Benevento, New York City
Commonwealth and Council, L.A.
COOPER COLE, Toronto
CourtneyBlades, Chicago
cuatrotrece, Monterrey
David Petersen Gallery, Minneapolis
DOCUMENT, Chicago
East Hampton Shed, East Hampton
Ed Video Media Arts Centre, Guelph
Efrain Lopez Gallery, Chicago
eitoeiko, Tokyo
Et al., San Francisco
Exo Exo, Paris
Fourteen30 Contemporary, Portland
Gaudel de Stampa, Paris
Gildar Gallery, Denver
Good Weather, North Little Rock
JAUS, Los Angeles
joségarcía,mx, Mexico City
K A N S A S, New York City
Kandor 13, New York City
KB – espacio para la cultura, Bogotá
Kimberly-Klark, Queens
Kunstverein Toronto, Toronto
LA PLAGE, Paris
LambdaLambdaLambda, Pristina
Last Resort, Copenhagen
lodos, Mexico City
Lulu, Mexico City
Michael Jon Gallery, Miami
Muscle Beach, Portland
Natalia Hug, Cologne
Neon Parc, Melbourne
New Galerie, Paris
Parallel Oaxaca, Oaxaca
Proyectos Ultravioleta, Guatemala City
Queer Thoughts, New York City
Roberto Paradise, San Juan
SADE GALLERY, Los Angeles
Sala Seis, Mexico City
Seventeen, London
Shane Campbell Gallery, Chicago
SMART OBJECTS, L.A.
SPF15, San Diego
Spinello Projects, Miami
Springsteen, Baltimore
What Pipeline, Detroit
xpo gallery, Paris
Yautepec, Mexico City
