A new year approaches and it’s the ideal moment to round up the most relevant things that happened in the year that passed us by. In this list, O Fluxo parsed the year in art to determine which exhibitions wielded the greatest impact in the artistic sphere.

It is impossible that anyone could put their head around everything that occurred during the year, nonetheless, these are for certain some of best art exhibitions you could see in 2015:

Political Populism
@ Kunsthalle Wien, Vienna

1Political PopulismSimon Denny, Secret Power Highlighted, 2015, Courtesy the artist, Galerie Buchholz Berlin/Cologne and Galerie Petzel, New York

Political Populism is the rather populist title for an exhibition that seeks to challenge a phenomenon critically and with artistic means. It covers all aspects of life as well as the populist political decision making field. Even in the field of high culture, simplistic manipulation has intensified. We endeavor, in a more or less obvious way, to provide for popular attention and success. A blockbuster exhibition in the field of visual arts is still the easiest and most obvious evidence of accomplished work, and this type of success measurement is rarely questioned publicly. Visitor numbers, workloads, ratings, clicks and hits propel substantive considerations, normative stipulations and sustainable strategies. Kunsthalle Wien also works with and on these contradictions. Since the turn of the millennium, it has become the norm to operate with pop culture references, methods and aesthetics.

3Political PopulismGoshka Macuga, Model for a Sculpture (Family), 2011, Courtesy the artist and Andrew Kreps Gallery, New York; Of what is, that it is; Of what is not, that it is not 1, 2012, Courtesy the artist and Prada Collection, Mailand

4Political PopulismMarcel Odenbach, Stadt der Helden, 2015, Ich bin ein Berliner, 2013, Private collection; Deutsches Symbol (Reichskriegsflagge), 1994, Deutsches Symbol (VW), 1994, Courtesy the artist, Galerie Gisela Capitain, Cologne and Galerie Crone, Berlin

5Political PopulismDavid Avazzadeh: Basel Abbas & Ruanne Abou-Rahme, The Incidental Insurgents, Part 3: When the fall of the dictionary leaves all words lying in the street, 2015, Courtesy the artist and Carroll Fletcher, London

6Political Populism

7Political PopulismMinouk Lim, Navigation ID, 2014, Live broadcast intervention at the press opening day of Burning Down the House, the 10th Gwangju Biennale, Courtesy the artist

8Political PopulismLawrence Abu Hamdan, Contra Diction (Speech Against Itself) (Detail), 2015, Courtesy the artist and Mor Charpentier, Paris, Photo: Kunst Halle Sankt Gallen, Stefan Jäggi

9Political PopulismHito Steyerl, Factory of the Sun (Videostill), 2015, Courtesy the artist

7/11 2015 – 7/2 2016
@ Kunsthalle Wien, Vienna, Austria
Artists: Basel Abbas and Ruanne Abou-Rahme, Saâdane Afif, Lawrence Abu Hamdan, Darren Bader, Keren Cytter, Simon Denny, Christian Falsnaes, Evgeny Granilshchikov, Flaka Haliti, Calla Henkel and Max Pitegoff, Anna Jermolaewa, Johanna Kandl, Erik van Lieshout, Minouk Lim, Goshka Macuga, Jumana Manna, Mián Mián, Marcel Odenbach, Ahmet Ögüt, Trevor Paglen, Hito Steyerl, Jun Yang.
Curator: Nicolaus Schafhausen.


CO-WORKERS – The Network as Artist
@ Musée d’Art Moderne de la Ville de Paris

10CoworkersCo-Workers. The Network as Artist, Installation View

11CoworkersCo-Workers. The Network as Artist is a large-scale exhibition at Musée d’Art Moderne de la Ville de Parisgathered a selection of international artists appearing on the scene in the 2000s whose inventive practices are shaped by our networked world. Scenography by the New York collective DIS and with the curatorial participation of 89plus, the exhibition foregrounds new artistic languages taking its inspiration from Internet resources.

With the world in the throes of the third industrial revolution, the use of the Internet and mobile telephone systems has triggered a new mode of communication hinging on an uninterrupted flow of information. While remaining independent, the user is connected to numerous networks –professional, cultural, technological, logistical,– that recognise no geographic boundaries: a form of organisation symptomatic of what sociologist Barry Wellman calls “networked individualism”.

“The Internet of Things” implies that humans are no longer the supreme thinking entities – that the things around them constitute a smart environment of so-called “Ambient Intelligence”. Installations, videos, sculptures and paintings: the contributing artists explore systems of exchange whose complexity outstrips the merely human scale. They investigate the way intelligence and consciousness can be extended to include machines, animals and other living organisms.

12CoworkersCo-Workers. The Network as Artist, Installation View
13CoworkersCo-Workers. The Network as Artist, Installation View
14CoworkersCo-Workers. The Network as Artist, Installation View
15CoworkersCo-Workers. The Network as Artist, Installation View
9/10 2015 – 31/1 2016
@ Musée d’Art Moderne de la Ville de Paris

Artists: Sarah Abu Abdallah & Abdullah Al-Mutairi, Aids-3D, Ed Atkins, Trisha Baga, Darja Bajagić, Douglas Coupland, DIS, David Douard, Cécile B.Evans, Valia Fetisov, GCC, Parker Ito, Christopher Kulendran Thomas, Clémence de La Tour du Pin & Dorota Gaweda & Egle Kulbokaite, Shawn Maximo, Nøne Futbol Club, Aude Pariset & Juliette Bonneviot, Pin-Up, Bunny Rogers, Rachel Rose, Bogosi Sekhukhuni & Tabita Rezaire, Ryan Trecartin, Timur Si-Qin, Jasper Spicero, AUJIK, Josh Bitelli, Brace Brace, Ian Cheng, Cuss Group, Future Brown, Max Hawkins, Saemundur Thor Helgason, Nicholas Korody, K-Rizz, Oliver Laric, Mark Leckey, Daniel Steeegmann Mangrané, Felix Melia, Simon Dybbroe Møller, Wyattt Niehaus, Yuri Pattison, Puppies Puppies, Fatima al Qadiri, Monira al Qadiri, Jon Rafman, Celebrite Seaborn, Emily Segal, Shanzhai Biennial, Fred Spencer, Hito Steyerl, Telfar, Amalia Ulman, Juani VN, Santiago Villanueva & Mariela Scafati, Andrew Norman Wilson, Yemenwed, Zou Zaho.

Curators: Angeline Scherf, Toke Lykkeberg and Jessica Castex.

Zabludowicz Collection Annual Commission: Jon Rafman
@ Zabludowicz, London

16JonRafmanJon Rafman @ Zabludowicz Collection, Installation View

For his first major solo exhibition in the UK, Canadian artist Jon Rafman has transformed the spaces of the Zabludowicz Collection into a playful series of new installations that immerse visitors within his video and sculptural works. Emerging from his interest in the relationship between technology and human consciousness, Rafman’s works examine ideas of desire – its simulation and enactment.

Drawing on the simulated landscapes of computer games, Rafman has created a large-scale artificial hedge-maze populated with digitally manipulated sculptural busts from his series and a new 8ft figure. The installation heightens the collapse in our distinctions between the real and the digital as visitors are invited to enter a virtual space using Oculus Rift technology. Transporting us from the maze, imaginary scenarios interchange with tangible experiences and dissolve our perceptions of place and time.

The exhibition also brings together recent video works which collage together images, text and footage drawn from video games, internet memes and virtual landscapes. These poetic new narratives critically engage with the aesthetics and subcultures of online communities. Visually compelling, funny and shocking, these videos are presented in new sculptural installations that reference spaces of play and spaces of contemplation, forcing the viewer to physically enter into these unsettling psychological realms.

17JonRafmanJon Rafman @ Zabludowicz Collection, Installation View

18JonRafmanJon Rafman @ Zabludowicz Collection, Installation View

19JonRafmanJon Rafman @ Zabludowicz Collection, Installation Views

20JonRafmanJon Rafman @ Zabludowicz Collection, Installation View


22JonRafmanJon Rafman @ Zabludowicz Collection, Installation Views

23JonRafmanJon Rafman @ Zabludowicz Collection, Installation View

8/10 2015 – 20/12 2015
@ Zabludowicz, London
Artist: Jon Rafman


2015 Triennial: Surround Audience
@ The New Museum, New York

24SurroundFrank Benson,  Juliana, 2014 Digital renderings of painted Accura® Xtreme Plastic rapid prototype

The Triennial’s predictive, rather than retrospective, model embodies the institution’s thirty-seven-year commitment to exploring the future of culture through the art of today. This third iteration of the Triennial is titled “Surround Audience” and is co-curated by New Museum Curator Lauren Cornell and artist Ryan Trecartin.

“Surround Audience” explores the effects of an increasingly connected world both on our sense of self and identity as well as on art’s form and larger social role. The exhibition looks at our immediate present, a time when culture has become more porous and encompassing and new considerations about art’s role and potential are surfacing. Artists are responding to these evolving conditions in a number of ways, from calculated appropriations to critical interrogations to surreal or poetic statements.

25SurroundSurround Audience, Exhibition View

26SurroundEd Atkins, Happy Birthday!! (still), 2014 HD video, sound 6 min (looped)

27SurroundDIS, The Island, 2015 Created in collaboration with Dornbracht and co-designed by Mike Meiré

28SurroundAleksandra Domanović, SOHO (Substances of Human Origin), 2015.

29SurroundAleksandra Domanović, SOHO (Substances of Human Origin), 2015. (detail)

31SurroundNadim Abbas, Chamber 664 Kubrick 2014–15 (detail)

32SurroundNadim Abbas. Chamber 665 “Spielberg” 2014–15 (detail)

33SurroundNadim Abbas, Chamber 666 Coppola 2014–15 (detail)

34SurroundJosh Kline, Freedom, 2015

35SurroundJosh Kline, ‘Freedom’, 2015

35.1SurroundAntoine Catala, Distant Feel, 2015

25/2 2015 – 24/5 2015
@ The New Museum, New York

Artists: Nadim Abbas, Lawrence Abu Hamdan, niv Acosta, Njideka Akunyili Crosby, Sophia Al-Maria, Ketuta Alexi-Meskhishvili, Ed Atkins, Olga Balema, Frank Benson, Sascha Braunig, Antoine Catala, Aslı Çavuşoğlu, José León Cerrillo, Onejoon CHE, Tania Pérez Córdova, Verena Dengler, DIS, Aleksandra Domanović, Casey Jane Ellison, Exterritory, Geumhyung Jeong, Ane Graff, Guan Xiao, Shadi Habib Allah, Eloise Hawser, Lena Henke, Lisa Holzer, Juliana Huxtable, Renaud Jerez, K-HOLE, Shreyas Karle, Kiluanji Kia Henda, Josh Kline, Eva Koťátková, Donna Kukama, Firenze Lai, Oliver Laric, Li Liao, Rachel Lord, Basim Magdy, Nicholas Mangan, Ashland Mines, Shelly Nadashi, Eduardo Navarro, Steve Roggenbuck, Avery K. Singer, Daniel Steegmann Mangrané, Martine Syms, Lisa Tan, Luke Willis Thompson, Peter Wächtler.
Curators: Lauren Cornell and Ryan Trecartin.


1L1IP by Clémence de la Tour du Pin and Antoine Renard
@ L’Atelier-ksr, Berlin

36 1L1IP1L1IP, Installation View

1L1IP takes the plunge into a wired world inspired by the cannibalistic story of pornographic actor Luka Rocco, arrested after killing and dismembering his boyfriend while creating a snuff movie to be uploaded to the dark web.
The on-site by Clémence de La Tour du Pin and Antoine Renard traces a cracked nuptial narrative, underlining the morbid attraction to gore in opposition to our extreme disgust at such a scene. The kinky environment re-created by the two artists reflects the cryptic virtual realm of online gaming, its dark spaces of excess entertainment and constant transformation. A collapsed consciousness drawn into its limbs.

37 1L1IP1L1IP, Installation View

38 1L1IPE3M7: Limbo, 2015
Steel panel diptych, digital print, magnet, PVC outer sheath

39 1L1IPIf you don’t like the reflection don’t look in the mirror (detail), 2015
Aluminium cast

40 1L1IPLeg 1, 2015
Aluminium cast, sneaker

41 1L1IPI am you, Jun. I’m all you’ll ever need, 2015 Deep fryer, aluminium bits, coffee, dye
Leg 2, 2015, Aluminium cast, steel tube, sneaker

42 1L1IPE4M4: Unruly Evil, 2015
4 steel panels, digital print, asphalt, aluminium cast, floorcloth, IPL gel, epoxy resin

16/9 2015 – 24/10 2015
L’Atelier-ksr, Berlin
Artists: Clémence de La Tour du Pin and Antoine Renard.


Biogenic Mineral by Timur Si-Qin
@ Magician Space, Beijing

43BiogenicThe 8th Gate Sorting Processor, 2015

Biogenic Mineral marks the first exhibition in China by Berlin-based artist Timur Si-Qin. Informed by the qualities and form of rock minerals, the exhibition presents ‘Truth by Peace’, a brand released by the artist for this exhibition under the banner of which includes an installation of sculpture and photography. Geological transformation is used as a metaphor for a consumer culture heated, pressurized and compressed in order to generate new patterns and forms.

Constituting the major component of the TBP brand in material form, the main hall features a set of rock-like sculptures fabricated in a factory located in Heiqiao Village, Beijing. Similar to how marble is the metamorphic version of limestone composed of ancient sea life, in the broader sense, minerals can also be regarded as a product of geological evolution – a movement undergoing stages of heat and pressure through prolonged periods of time in order to yield a new form. The artist regards transformation within culture (with brands as a concrete example) as similarly a result of these complex movements compressed together by metamorphic processes. With this sculpture installation in the main hall, the artist has also fabricated octagonal structures lined with an LED light system – combining traditional and contemporary structures, these elements together play the role of ‘visual attractors’, directing the movement of culture or a ‘phase transition’.

44BiogenicThe 8th Gate Sorting Processor, 2015

45BiogenicBiogenic Mineral, Installation View

46BiogenicTruth by Peace I, 2015

47BiogenicBiogenic Mineral, Installation View

48BiogenicTruth by Peace II, 2015

50BiogenicBiogenic Mineral, Installation View

3/3 2015 – 17/5 2015
Magician Space, Beijing
Timur Si-Qin

Deep Skin organized by Grégoire Blunt + Emmy Skensved
@ SNOlab, Sudbury

51DEEP SKINBlunt + Skensved, DEEPSK.IN/DRK_NRG.HTML, permanent marker, html & audio, 2015. (photographed on the cube hall deck)

DEEP SKIN, the deepest underground art exhibition in history, took place at the Sudbury Neutrino Observatory (SNOlab), a particle physics research laboratory situated 2100 meters underground in Northern Ontario, Canada.

The lab’s extreme underground location in the Creighton Nickel Mine (the world’s second deepest mine outside of South Africa) is situated so as to shield sensitive experiments from cosmic rays and background radiation, essential for studying subatomic particles such as neutrinos. Overall, the facility has a muon flux of less than 0.27 μ/m² per day.The lab is accessed via the mine’s elevator, which descends in only 2 minutes time. The 2100 meter granitic rock overburden corresponds to a 6010 meter water equivalent and the rapid change in pressure can cause some visitors to experience vertigo and severe otalgia. The ambient rock temperature at this depth is 42 degrees celsius.

From the elevator, visitors must walk down a 1.8 kilometer drift (mine cavern) in order to reach the lab. The entrance is a transitional region from the dirty mine environment to a ‘CLASS 2000’ clean room laboratory (meaning that it is extremely clean with very low levels of dust). Showers, headgear, lab suits and air showers are mandatory before entering the space. Futhermore, several of the exhibition’s artworks were vacuum-packed in order to comply with the stringent security and cleanliness protocols of the SNOlab.

52DEEP SKINPakui Hardware, LOST HERITAGE, 2015 (photographed on the DEAP 3600  detector)

53DEEP SKINPakui Hardware, LOST HERITAGE, 2015 (photographed on the HALO supernova detector)

54DEEP SKINDorota Gaweda + Egle Kulbokaite, SHE, A SKELETON, 2015

55DEEP SKINVisualize→Actualize, 2nd SKIN eBOOK, 2015 (photographed in front of the HALO supernova detector)

56DEEP SKINAnna Sagström, GLOBAL ROUNDUP, ROUNDUP® (GYPHOSAT, GERBIZID), 2015 (photographed in the staff kitchen)

57DEEP SKINTROI OI (Nhu Duong + Sung Tieu), 2015 (photographed on the steel shell of the DEAP 3600 detector)

@ Sudbury Neutrino Observatory (SNOlab), Sudbury, Canada/ http://deepsk.in/
Anna Sagström, Pakui Hardware, Dorota Gaweda + Egle Kulbokaite, Paul Barsch,  Blunt + Skensved, Agatha Valkyrie Ice (Clémence de La Tour du Pin, Dorota Gaweda + Eglė Kulbokaitė), Bitsy Knox + Christian Tonner, Martin Kohout, Visualize→Actualize, Antoine Renard, and TROI OI (Nhu Duong + Sung Tieu)
Curators: Grégoire Blunt and Emmy Skensved


Jurassic Paint
organized by New Scenario

58JurassicRothkoNetflix1, Scott Gelber

Jurassic Paint was the second online show brought to you by New Scenario  founded by artists Paul Barsch and Tilman Hornig in late 2014. Shot in the forest of Saurierpark, Kleinwelka, this group show combines two prehistoric yet resilient species. Wereas painting is a creative act of the imagination, the dinosaurs’ appearance emerges from fanciful and narrative processes of the human and scientific mind. In this show paintings and dinosaurs share the same Lebensraum, creating a new scenario.

Works on canvas and life size dinos.

59JurassicUntitled (Witch), Joshua Abelow

60JurassicShred IV, Zoe Barcza

61JurassicMy Starving Public 1998, Ann Hirsch

62JurassicAmusement Park, Jaakko Pallasvuo

63JurassicVoyager1, Anselm Ruderisch

@ http://newscenario.net/jurassic/
Joshua Abelow, Iain Ball, Zoe Barcza, Paul Barsch, Tom Davis, Scott Gelber, Sayre Gomez, Ann Hirsch, Tilman Hornig, Martin Mannig, Jaakko Pallasvuo, Anselm Ruderisch. With written contributions by Johannes Thumfart and Hendrik Niefeld.
Curators: Tilman Hornig and Paul Barsch.

Grand Opening Reception
@ Neuer Aachener Kunstverein, Aachen

64GrandGrand Opening Reception, Exhibition View

Grand Opening Reception is a project by *Lennart Wolff and Elisa R. Linn at Neuer Aachener Kunstverein, questioning the role of artistic positions in contemporary institutional marketing and the eventisation of cultural production in the form of local identity creation.

The project is conceived in collaboration with Kuwaiti architect and artist **Aziz Al Qatami, who was commissioned to create the exhibition design.

*The project km temporaer was initiated by curators Elisa R. Linn and Lennart Wolff and investigates the potential of thematic group exhibitions through ever changing formats. Every exhibition is developed in collaboration with a third party (curator, artist, journalist, poet, architect etc.) and at different locations, taking the specifc conditions of each site into consideration.

65GrandGrand Opening Reception, Exhibition View

66GrandCooper Jacoby, Deposits (leaking valley), 2015

67GrandJulien Ceccaldi, Untitled, 2015

68GrandGeorge Rippon, To Create A Dream Come True, 2015

69GrandRenaud Jerez, E1, 2015

70GrandRenaud Jerez, E1, 2015

19/7 2015 – 13/9 2015
@ Neuer Aachener Kunstverein, Aachen, Germany
Peter Friedl, Dena Yago, Stewart Uoo, Christian Von Borries, George Rippon, Renaud Jerez, Carey Young, Julien Ceccaldi, Kaspar Müller, Cooper Jacoby.
Elisa R Linn and Lennart Wolff.

@ Schinkel Pavillon, Berlin

71THEMKatja Novitskova, Approximation of Snail, 2015

THEM – that’s them, that’s us. THEM revolves around questions of the self, encompassing the gaze inward and outward, and of representation and self-definition. THEM involves the sensuous, the body and material, desire and rebellion, spaces of intimacy and the abyss, delimitation, technology, the virtual. The group exhibition THEM is an encounter, a revision, a statement. The central reference point of the exhibition is the work of Polish artist Alina Szapocznikow (1926-1973), which has gained international recognition in recent years. Szapocznikow’s works partake in a dialogue with six artists, exclusively female positions, which deal – each one specifically in relation to their generation – with the definition and construction of the body, with gender, with social positioning, and even the prosthetic-ness of the body in the digital era. The exhibits are framed by an architecture specially conceived for the exhibition that in its overall appearance resembles an amoeba, a single cell organism, and which as an independent body carries and encloses the sculptures. It becomes an organically sinuous, walk-through interface, a body that addresses the corporeal.

72THEMAlexandra Domanovic, SOHO (Substances of the Human Origin), 2015

73THEMTHEM, Exhibition View

74THEMTHEM, Exhibition View

75THEMSarah Lucas, Bunny gets snookered #3, 1970

76THEMAnicka Yi, 235,681K of Digital Spit, 2010

77THEMAlina Szapocznikow, Sculpture (Fétiche IV), 1971

13/6 2015 – 26/7 2015
Schinkel Pavillon, Berlin, Germany
Alina Szapocznikow, Alisa Baremboym, Aleksandra Domanović, Katja Novitskova, Sarah Lucas, Carolee Schneemann, Anicka Yi.
Nina Pohl.


The Innovator’s Dilemma by Simon Denny
@ MoMA PS1, New York

The Innovator’s Dilemma, Installation View

The Innovator’s Dilemma marks the first significant U.S. museum solo show of Berlin-based artist Simon Denny (b. 1982, Auckland, New Zealand) at MoMA PS1. The Innovator’s Dilemma adopts the architectural typology of the industry tradeshow, staging literal platforms for content drawn from various recent bodies of Denny’s work. Drawing its title from Clayton M. Christensen’s 1997 book of entrepreneurial theory, the exhibition will include Denny’s projects created around the 2012 Digital Life Design conference in Munich (ALL YOU NEED IS…DATA? [2012]), the Internet copyright infringement scandal involving Internet entrepreneur Kim Dotcom (The Personal Effects of Kimdotcom [2013]) and Samsung’s 1993 international announcement of supposedly watershed business practice shifts (New Management [2014]), among others.

The Innovator’s Dilemma, Installation View

The Innovator’s Dilemma, Installation View

The Innovator’s Dilemma, Installation View

The Innovator’s Dilemma, Installation View

The Innovator’s Dilemma, Installation View

3/4 2015 – 24/8 2015
MoMA PS1, New York
Simon Denny.


Starcom Mediavest by Andrew Norman Wilson
@  Starcom MediaVest Group, Chicago


During his six week stay at Starcom MediaVest Group, Andrew Norman Wilson has created a series of sculptures and installations. Using materials familiar to the corporate work place and inspired by his previous employment in such settings, Wilson intuits unexpected and subtle relationships between things, feelings, concepts, and people. Contrast against the bold directive buzz words of the office’s interior design Wilson uses neurologically a-typical language throughout the exhibit to create a broad cognitive spectrum. Videos in the garage, 9th floor, and 32nd floor explore psychological, ecological, and economic uncertainty while sculptural arrangements on the 8th and 9th floors tune into a collective fear of physical decay.

Works include video architecture, floor arrangement pieces, custom air vents, a mobile mosquito city, shrink wrapped furniture, Helix aspersa snails, a caged Austin Mahone cutout, a Happy Meal dog house, and a Robin Williams table cover.

85starcomWhen I think of those coal miners trapped in a mine, there may be empathy. But my empathy would probably be towards the flashlight batteries of the coal miners if there happens to be a selection on my part. Or my empathy would perhaps be towards the trapped air around those coal miners. There would be me watching through the eyes of the flashlight cell the utter hopelessness of those unfortunate miners as my last chemicals struggled to glow the faint bulb so that I didn’t leave them dying in darkness. As the air around them, I would try to find a way to let myself squeeze every bit of oxygen I have to allow the doomed lungs to breathe, for I am responsible for their doom. And while I found myself trapped, I would smell the burning rice being cooked with neglect in an earthen pot.
industrial heat shrink wrap, vinyl, Herman Miller office chair, 2015


3D powder print, copper, vinyl, 2015



90starcomGuided Meditation (collaboration with Nick Bastis)
secret executive parking garage, Ford E-350, video, 2015

91starcomGroup Therapy (collaboration with Nick Bastis)
raw steel, iron fittings, 3D printed hardware, crutch tips, melted PVC patio chaise lounges, lamp, wallpaper, carpet, 2015


93starcomKimbell (collaboration with Nick Bastis)
Helix Aspersa snail, work station, 2015

94starcomMaddison (collaboration with Nick Bastis)
Helix Aspersa snail, work station, 2015

20/2 2015 – 30/3 2015
Starcom MediaVest Group offices, Chicago
Andrew Norman Wilson.
Organized by
: New Capital and the #nextARTnow.

ofluxologobsmallblackDecember, 2015