No visible means of support. Hanging precariously on the hook over the Manhattan art-world infrastructure, which is upside-down. Not the white cube, plastic draped for effect over the raw block walls. Wireless, wired. Glowing image. Object|Subject: Dimensional; & stuck up the pole like a treed bear. Having to crawl across the gnarly grid just to get things moving. Industrial-powered. In the mode of fabrication. Unadorned space. In the burnt-out, rebuilt innards of the sprawling luxury metroplex. Beset by the media gentry. Fueled by the young Americans the parasitic critical classes defined as "Creative Class"ers, Hipsters, Gen Y, Zero or Whatever. The unfunded mandate. Cleaving to art and life, and future Now, in spite of the corruption of management, leaders, government and the institutions that ought to be supporting the campaigns of burgeoning dimensionists to relocate perception for more than greed, oil, dollars and public fanatic conservatism coupled with private exploitation, extraction, decadence. If it doesn't get fixed, the banks will be the first to burn, then the gated enclaves, then the penthouses, the yachts. Art is not a luxury item, and Bushwick is not a luxury hood, and the Pimps of Davos are invisible here for the moment, except as the machinists of default, far away from the crime scene always, eating cake o flesh, until they smell something good and fresh, like burning fat, that they can steal or pretend they deserve or invented or discovered. Fuck the Suck. We're already overexposed. We grew up that way. There's a genius here for every subway train that stops on the L line, a new one born or arrived every 7-45 minutes, no thanks at all to that oligarch Bloomberg. - MILO
Scene courtesy AWS Fabrication, 420 Troutman, Brooklyn. Canopy trestle for Guggenheim Museum. www.awsfabrication.com Pictured with painting "Treed Bear" by Paul McLean, Ashley W. Stevenson, Clif Hawkins, Hugo McCloud.