The Exhibit.

The exhibition is entirely hypothetical. In it, the artist intentionally presents false arguments as a form of strategic sophistry. The goal is to frustrate critics, irritate gallerists, and further undermine the legitimacy of contemporary art institutions. This gesture is both petty and metaphysical.

The artist artfully arranges obscurantist statements into variable, interchangeable tactical moves: Painting, technoscience, installation art, digital art, generative AI, etc. Each zone is subject to speculative chance operations and capable of positing imaginary solutions. 

The hypothetical exhibition posits that, when executed with sufficient bad faith, the critical gesture can produce objects that are hidden in plain sight across time and space. These exhibits exist retroactively and preemptively. Some have already closed. Others never opened. All remain legally unverified.

The artist has taken obsolete digital artifacts, rendered useless by thirty years of system updates and outdated file extensions, and re-contextualized them as primary source material.  For example, a 1994 Adobe Illustrator file is presented as conceptual art and a media archaeological icon. A 1995 PSD file has been reimagined as a digital object that can be rewritten as a new document using AI prompts.

At the heart of the exhibition is the idea that originality itself is the crime. The artist’s lifelong pursuit of epistemic novelty, recursive allegory, and metaphysical legitimacy has been formally indicted as an act of artistic obstruction. Motive: unknown. Outcome: uncertain.