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LIZ CRAFT
Grottesca
@schleuse1040 Vienna / June 2025

@zilcraft will be included in our summer installation, FOCUS GROUP 5, opening in mid-June. #lizcraft

LIZ CRAFT
Grottesca
@schleuse1040 Vienna / June 2025

@zilcraft will be included in our summer installation, FOCUS GROUP 5, opening in mid-June. #lizcraft

LIZ CRAFT
Grottesca
@schleuse1040 Vienna / June 2025

@zilcraft will be included in our summer installation, FOCUS GROUP 5, opening in mid-June. #lizcraft

LIZ CRAFT
Grottesca
@schleuse1040 Vienna / June 2025

@zilcraft will be included in our summer installation, FOCUS GROUP 5, opening in mid-June. #lizcraft

LIZ CRAFT
Grottesca
@schleuse1040 Vienna / June 2025

@zilcraft will be included in our summer installation, FOCUS GROUP 5, opening in mid-June. #lizcraft

LIZ CRAFT
Grottesca
@schleuse1040 Vienna / June 2025

@zilcraft will be included in our summer installation, FOCUS GROUP 5, opening in mid-June. #lizcraft

LIZ CRAFT
Grottesca
@schleuse1040 Vienna / June 2025

@zilcraft will be included in our summer installation, FOCUS GROUP 5, opening in mid-June. #lizcraft

LIZ CRAFT
Grottesca
@schleuse1040 Vienna / June 2025

@zilcraft will be included in our summer installation, FOCUS GROUP 5, opening in mid-June. #lizcraft

But if Sanhattan is a dream–What kind of dream is it?

Cloning Sanhattan onto Manhattan at the Whitney Biennial while tracing and mirroring distances between the two , trying to understand which double came to be the original reflection.

Sanhattan -the financial district of Santiago, Chile- was built shortly after Augusto Pinochet’s violent, US-backed dictatorship, which lasted from 1973 to 1990.
Intentionally resembling Manhattan, it was intended as an architectural glorification of the free-market ideology espoused by the “Chicago Boys,” a group of economists trained in the United States. The installation combines cityscapes, dreamlike narration, and expert interviews to explore the ways that Sanhattan simulates, shadows, predicts, and resists its namesake.

You can visit the Whitney Biennial @whitneymuseum until August 23

Thank you for everyone who made this possible:

Curated by: Marcela Guerrero @marcelacguerrero & Drew Sawyer @drewmsawyer
with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow. @beatrizcifuentesl @hiviscosity


Poem by lleana Elordi @superreinos
Narration by Cristalina Parra @cristalinaparra
Original score and sound mixing by Nicolás Carcavilla #nicolascarcavilla
Color grading and digital mastering by Thomas Woodroffe @thomaswoodroffe

Interviewees (in order of appearance):
Sergio Jara Román, Eugenio Tironi, Sergio Parra, Abraham Senerman, and Liliana de Simone
Filmed, directed and programed by Ignacio Gatica
📸 Thelma Garcia & Ron Amstutz

Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame Collection of the artist; courtesy the artist and Von Ammon Co. @vonammon
Support for this artwork is provided by the Fundación Ama Amoedo Grant @fundacionamaamoedo and Thomas E. Moore III

But if Sanhattan is a dream–What kind of dream is it?

Cloning Sanhattan onto Manhattan at the Whitney Biennial while tracing and mirroring distances between the two , trying to understand which double came to be the original reflection.

Sanhattan -the financial district of Santiago, Chile- was built shortly after Augusto Pinochet’s violent, US-backed dictatorship, which lasted from 1973 to 1990.
Intentionally resembling Manhattan, it was intended as an architectural glorification of the free-market ideology espoused by the “Chicago Boys,” a group of economists trained in the United States. The installation combines cityscapes, dreamlike narration, and expert interviews to explore the ways that Sanhattan simulates, shadows, predicts, and resists its namesake.

You can visit the Whitney Biennial @whitneymuseum until August 23

Thank you for everyone who made this possible:

Curated by: Marcela Guerrero @marcelacguerrero & Drew Sawyer @drewmsawyer
with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow. @beatrizcifuentesl @hiviscosity


Poem by lleana Elordi @superreinos
Narration by Cristalina Parra @cristalinaparra
Original score and sound mixing by Nicolás Carcavilla #nicolascarcavilla
Color grading and digital mastering by Thomas Woodroffe @thomaswoodroffe

Interviewees (in order of appearance):
Sergio Jara Román, Eugenio Tironi, Sergio Parra, Abraham Senerman, and Liliana de Simone
Filmed, directed and programed by Ignacio Gatica
📸 Thelma Garcia & Ron Amstutz

Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame Collection of the artist; courtesy the artist and Von Ammon Co. @vonammon
Support for this artwork is provided by the Fundación Ama Amoedo Grant @fundacionamaamoedo and Thomas E. Moore III

But if Sanhattan is a dream–What kind of dream is it?

Cloning Sanhattan onto Manhattan at the Whitney Biennial while tracing and mirroring distances between the two , trying to understand which double came to be the original reflection.

Sanhattan -the financial district of Santiago, Chile- was built shortly after Augusto Pinochet’s violent, US-backed dictatorship, which lasted from 1973 to 1990.
Intentionally resembling Manhattan, it was intended as an architectural glorification of the free-market ideology espoused by the “Chicago Boys,” a group of economists trained in the United States. The installation combines cityscapes, dreamlike narration, and expert interviews to explore the ways that Sanhattan simulates, shadows, predicts, and resists its namesake.

You can visit the Whitney Biennial @whitneymuseum until August 23

Thank you for everyone who made this possible:

Curated by: Marcela Guerrero @marcelacguerrero & Drew Sawyer @drewmsawyer
with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow. @beatrizcifuentesl @hiviscosity


Poem by lleana Elordi @superreinos
Narration by Cristalina Parra @cristalinaparra
Original score and sound mixing by Nicolás Carcavilla #nicolascarcavilla
Color grading and digital mastering by Thomas Woodroffe @thomaswoodroffe

Interviewees (in order of appearance):
Sergio Jara Román, Eugenio Tironi, Sergio Parra, Abraham Senerman, and Liliana de Simone
Filmed, directed and programed by Ignacio Gatica
📸 Thelma Garcia & Ron Amstutz

Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame Collection of the artist; courtesy the artist and Von Ammon Co. @vonammon
Support for this artwork is provided by the Fundación Ama Amoedo Grant @fundacionamaamoedo and Thomas E. Moore III

But if Sanhattan is a dream–What kind of dream is it?

Cloning Sanhattan onto Manhattan at the Whitney Biennial while tracing and mirroring distances between the two , trying to understand which double came to be the original reflection.

Sanhattan -the financial district of Santiago, Chile- was built shortly after Augusto Pinochet’s violent, US-backed dictatorship, which lasted from 1973 to 1990.
Intentionally resembling Manhattan, it was intended as an architectural glorification of the free-market ideology espoused by the “Chicago Boys,” a group of economists trained in the United States. The installation combines cityscapes, dreamlike narration, and expert interviews to explore the ways that Sanhattan simulates, shadows, predicts, and resists its namesake.

You can visit the Whitney Biennial @whitneymuseum until August 23

Thank you for everyone who made this possible:

Curated by: Marcela Guerrero @marcelacguerrero & Drew Sawyer @drewmsawyer
with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow. @beatrizcifuentesl @hiviscosity


Poem by lleana Elordi @superreinos
Narration by Cristalina Parra @cristalinaparra
Original score and sound mixing by Nicolás Carcavilla #nicolascarcavilla
Color grading and digital mastering by Thomas Woodroffe @thomaswoodroffe

Interviewees (in order of appearance):
Sergio Jara Román, Eugenio Tironi, Sergio Parra, Abraham Senerman, and Liliana de Simone
Filmed, directed and programed by Ignacio Gatica
📸 Thelma Garcia & Ron Amstutz

Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame Collection of the artist; courtesy the artist and Von Ammon Co. @vonammon
Support for this artwork is provided by the Fundación Ama Amoedo Grant @fundacionamaamoedo and Thomas E. Moore III

But if Sanhattan is a dream–What kind of dream is it?

Cloning Sanhattan onto Manhattan at the Whitney Biennial while tracing and mirroring distances between the two , trying to understand which double came to be the original reflection.

Sanhattan -the financial district of Santiago, Chile- was built shortly after Augusto Pinochet’s violent, US-backed dictatorship, which lasted from 1973 to 1990.
Intentionally resembling Manhattan, it was intended as an architectural glorification of the free-market ideology espoused by the “Chicago Boys,” a group of economists trained in the United States. The installation combines cityscapes, dreamlike narration, and expert interviews to explore the ways that Sanhattan simulates, shadows, predicts, and resists its namesake.

You can visit the Whitney Biennial @whitneymuseum until August 23

Thank you for everyone who made this possible:

Curated by: Marcela Guerrero @marcelacguerrero & Drew Sawyer @drewmsawyer
with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow. @beatrizcifuentesl @hiviscosity


Poem by lleana Elordi @superreinos
Narration by Cristalina Parra @cristalinaparra
Original score and sound mixing by Nicolás Carcavilla #nicolascarcavilla
Color grading and digital mastering by Thomas Woodroffe @thomaswoodroffe

Interviewees (in order of appearance):
Sergio Jara Román, Eugenio Tironi, Sergio Parra, Abraham Senerman, and Liliana de Simone
Filmed, directed and programed by Ignacio Gatica
📸 Thelma Garcia & Ron Amstutz

Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame Collection of the artist; courtesy the artist and Von Ammon Co. @vonammon
Support for this artwork is provided by the Fundación Ama Amoedo Grant @fundacionamaamoedo and Thomas E. Moore III

But if Sanhattan is a dream–What kind of dream is it?

Cloning Sanhattan onto Manhattan at the Whitney Biennial while tracing and mirroring distances between the two , trying to understand which double came to be the original reflection.

Sanhattan -the financial district of Santiago, Chile- was built shortly after Augusto Pinochet’s violent, US-backed dictatorship, which lasted from 1973 to 1990.
Intentionally resembling Manhattan, it was intended as an architectural glorification of the free-market ideology espoused by the “Chicago Boys,” a group of economists trained in the United States. The installation combines cityscapes, dreamlike narration, and expert interviews to explore the ways that Sanhattan simulates, shadows, predicts, and resists its namesake.

You can visit the Whitney Biennial @whitneymuseum until August 23

Thank you for everyone who made this possible:

Curated by: Marcela Guerrero @marcelacguerrero & Drew Sawyer @drewmsawyer
with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow. @beatrizcifuentesl @hiviscosity


Poem by lleana Elordi @superreinos
Narration by Cristalina Parra @cristalinaparra
Original score and sound mixing by Nicolás Carcavilla #nicolascarcavilla
Color grading and digital mastering by Thomas Woodroffe @thomaswoodroffe

Interviewees (in order of appearance):
Sergio Jara Román, Eugenio Tironi, Sergio Parra, Abraham Senerman, and Liliana de Simone
Filmed, directed and programed by Ignacio Gatica
📸 Thelma Garcia & Ron Amstutz

Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame Collection of the artist; courtesy the artist and Von Ammon Co. @vonammon
Support for this artwork is provided by the Fundación Ama Amoedo Grant @fundacionamaamoedo and Thomas E. Moore III

But if Sanhattan is a dream–What kind of dream is it?

Cloning Sanhattan onto Manhattan at the Whitney Biennial while tracing and mirroring distances between the two , trying to understand which double came to be the original reflection.

Sanhattan -the financial district of Santiago, Chile- was built shortly after Augusto Pinochet’s violent, US-backed dictatorship, which lasted from 1973 to 1990.
Intentionally resembling Manhattan, it was intended as an architectural glorification of the free-market ideology espoused by the “Chicago Boys,” a group of economists trained in the United States. The installation combines cityscapes, dreamlike narration, and expert interviews to explore the ways that Sanhattan simulates, shadows, predicts, and resists its namesake.

You can visit the Whitney Biennial @whitneymuseum until August 23

Thank you for everyone who made this possible:

Curated by: Marcela Guerrero @marcelacguerrero & Drew Sawyer @drewmsawyer
with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow. @beatrizcifuentesl @hiviscosity


Poem by lleana Elordi @superreinos
Narration by Cristalina Parra @cristalinaparra
Original score and sound mixing by Nicolás Carcavilla #nicolascarcavilla
Color grading and digital mastering by Thomas Woodroffe @thomaswoodroffe

Interviewees (in order of appearance):
Sergio Jara Román, Eugenio Tironi, Sergio Parra, Abraham Senerman, and Liliana de Simone
Filmed, directed and programed by Ignacio Gatica
📸 Thelma Garcia & Ron Amstutz

Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame Collection of the artist; courtesy the artist and Von Ammon Co. @vonammon
Support for this artwork is provided by the Fundación Ama Amoedo Grant @fundacionamaamoedo and Thomas E. Moore III

But if Sanhattan is a dream–What kind of dream is it?

Cloning Sanhattan onto Manhattan at the Whitney Biennial while tracing and mirroring distances between the two , trying to understand which double came to be the original reflection.

Sanhattan -the financial district of Santiago, Chile- was built shortly after Augusto Pinochet’s violent, US-backed dictatorship, which lasted from 1973 to 1990.
Intentionally resembling Manhattan, it was intended as an architectural glorification of the free-market ideology espoused by the “Chicago Boys,” a group of economists trained in the United States. The installation combines cityscapes, dreamlike narration, and expert interviews to explore the ways that Sanhattan simulates, shadows, predicts, and resists its namesake.

You can visit the Whitney Biennial @whitneymuseum until August 23

Thank you for everyone who made this possible:

Curated by: Marcela Guerrero @marcelacguerrero & Drew Sawyer @drewmsawyer
with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow. @beatrizcifuentesl @hiviscosity


Poem by lleana Elordi @superreinos
Narration by Cristalina Parra @cristalinaparra
Original score and sound mixing by Nicolás Carcavilla #nicolascarcavilla
Color grading and digital mastering by Thomas Woodroffe @thomaswoodroffe

Interviewees (in order of appearance):
Sergio Jara Román, Eugenio Tironi, Sergio Parra, Abraham Senerman, and Liliana de Simone
Filmed, directed and programed by Ignacio Gatica
📸 Thelma Garcia & Ron Amstutz

Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame Collection of the artist; courtesy the artist and Von Ammon Co. @vonammon
Support for this artwork is provided by the Fundación Ama Amoedo Grant @fundacionamaamoedo and Thomas E. Moore III

But if Sanhattan is a dream–What kind of dream is it?

Cloning Sanhattan onto Manhattan at the Whitney Biennial while tracing and mirroring distances between the two , trying to understand which double came to be the original reflection.

Sanhattan -the financial district of Santiago, Chile- was built shortly after Augusto Pinochet’s violent, US-backed dictatorship, which lasted from 1973 to 1990.
Intentionally resembling Manhattan, it was intended as an architectural glorification of the free-market ideology espoused by the “Chicago Boys,” a group of economists trained in the United States. The installation combines cityscapes, dreamlike narration, and expert interviews to explore the ways that Sanhattan simulates, shadows, predicts, and resists its namesake.

You can visit the Whitney Biennial @whitneymuseum until August 23

Thank you for everyone who made this possible:

Curated by: Marcela Guerrero @marcelacguerrero & Drew Sawyer @drewmsawyer
with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow. @beatrizcifuentesl @hiviscosity


Poem by lleana Elordi @superreinos
Narration by Cristalina Parra @cristalinaparra
Original score and sound mixing by Nicolás Carcavilla #nicolascarcavilla
Color grading and digital mastering by Thomas Woodroffe @thomaswoodroffe

Interviewees (in order of appearance):
Sergio Jara Román, Eugenio Tironi, Sergio Parra, Abraham Senerman, and Liliana de Simone
Filmed, directed and programed by Ignacio Gatica
📸 Thelma Garcia & Ron Amstutz

Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame Collection of the artist; courtesy the artist and Von Ammon Co. @vonammon
Support for this artwork is provided by the Fundación Ama Amoedo Grant @fundacionamaamoedo and Thomas E. Moore III

But if Sanhattan is a dream–What kind of dream is it?

Cloning Sanhattan onto Manhattan at the Whitney Biennial while tracing and mirroring distances between the two , trying to understand which double came to be the original reflection.

Sanhattan -the financial district of Santiago, Chile- was built shortly after Augusto Pinochet’s violent, US-backed dictatorship, which lasted from 1973 to 1990.
Intentionally resembling Manhattan, it was intended as an architectural glorification of the free-market ideology espoused by the “Chicago Boys,” a group of economists trained in the United States. The installation combines cityscapes, dreamlike narration, and expert interviews to explore the ways that Sanhattan simulates, shadows, predicts, and resists its namesake.

You can visit the Whitney Biennial @whitneymuseum until August 23

Thank you for everyone who made this possible:

Curated by: Marcela Guerrero @marcelacguerrero & Drew Sawyer @drewmsawyer
with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow. @beatrizcifuentesl @hiviscosity


Poem by lleana Elordi @superreinos
Narration by Cristalina Parra @cristalinaparra
Original score and sound mixing by Nicolás Carcavilla #nicolascarcavilla
Color grading and digital mastering by Thomas Woodroffe @thomaswoodroffe

Interviewees (in order of appearance):
Sergio Jara Román, Eugenio Tironi, Sergio Parra, Abraham Senerman, and Liliana de Simone
Filmed, directed and programed by Ignacio Gatica
📸 Thelma Garcia & Ron Amstutz

Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame Collection of the artist; courtesy the artist and Von Ammon Co. @vonammon
Support for this artwork is provided by the Fundación Ama Amoedo Grant @fundacionamaamoedo and Thomas E. Moore III

But if Sanhattan is a dream–What kind of dream is it?

Cloning Sanhattan onto Manhattan at the Whitney Biennial while tracing and mirroring distances between the two , trying to understand which double came to be the original reflection.

Sanhattan -the financial district of Santiago, Chile- was built shortly after Augusto Pinochet’s violent, US-backed dictatorship, which lasted from 1973 to 1990.
Intentionally resembling Manhattan, it was intended as an architectural glorification of the free-market ideology espoused by the “Chicago Boys,” a group of economists trained in the United States. The installation combines cityscapes, dreamlike narration, and expert interviews to explore the ways that Sanhattan simulates, shadows, predicts, and resists its namesake.

You can visit the Whitney Biennial @whitneymuseum until August 23

Thank you for everyone who made this possible:

Curated by: Marcela Guerrero @marcelacguerrero & Drew Sawyer @drewmsawyer
with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow. @beatrizcifuentesl @hiviscosity


Poem by lleana Elordi @superreinos
Narration by Cristalina Parra @cristalinaparra
Original score and sound mixing by Nicolás Carcavilla #nicolascarcavilla
Color grading and digital mastering by Thomas Woodroffe @thomaswoodroffe

Interviewees (in order of appearance):
Sergio Jara Román, Eugenio Tironi, Sergio Parra, Abraham Senerman, and Liliana de Simone
Filmed, directed and programed by Ignacio Gatica
📸 Thelma Garcia & Ron Amstutz

Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame Collection of the artist; courtesy the artist and Von Ammon Co. @vonammon
Support for this artwork is provided by the Fundación Ama Amoedo Grant @fundacionamaamoedo and Thomas E. Moore III

@dont.stop.moving 🧼

Julia Wachtel, Just The Two of Us, 1982

ALEX BAG
Twelve Spells (Taurus), 1999
Chromogenic print
16 x 24 inches
Edition 5 of 5
AB148.5

@geeinarsson @dinos_chapman_studio @mr.shuffles @banks_violette_616 @h_lang_

JULIA WACHTEL
A Dream of Symmetry, 1988
Oil, flashe, and lacquer ink on canvas
4 panels, each: 50 1/2 x 34 inches
overall, 50 x 140 in, 127 x 355.6 cm

Ignacio Gatica
Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame
Edition of 2
IGGAT025.1
on view now at @whitneymuseum

Ignacio Gatica
Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame
Edition of 2
IGGAT025.1
on view now at @whitneymuseum

Ignacio Gatica
Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame
Edition of 2
IGGAT025.1
on view now at @whitneymuseum

Ignacio Gatica
Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame
Edition of 2
IGGAT025.1
on view now at @whitneymuseum

Ignacio Gatica
Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame
Edition of 2
IGGAT025.1
on view now at @whitneymuseum

Ignacio Gatica
Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame
Edition of 2
IGGAT025.1
on view now at @whitneymuseum

Ignacio Gatica
Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame
Edition of 2
IGGAT025.1
on view now at @whitneymuseum

Ignacio Gatica
Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame
Edition of 2
IGGAT025.1
on view now at @whitneymuseum

Ignacio Gatica
Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame
Edition of 2
IGGAT025.1
on view now at @whitneymuseum

Ignacio Gatica
Sanhattan, 2025
Digital video, color, and sound, 18:29 min.; LED panels and inkjet photographs with artist frame
Edition of 2
IGGAT025.1
on view now at @whitneymuseum

Catharine Czudej's upcoming monograph has a heart-shaped hole punched through the whole thing. Pre-order at www.vonammonbooks.com (link in bio)

Our eighth release since starting to publish our 10x8 book series is "and" by Julia Wachtel. This title will be a boxed edition, with an accordion-folded offset printed, laminated facsimile of the two paintings in the show, one on each side of the sheet.
A new essay by @chris___richards will be printed on the inside of the lid. Brown cloth cover with white foil stamp.
A smaller edition of 50, 100 dollars. Pick one up at www.vonammonbooks.com (link in bio)
@juliawachtel #juliawachtel

OPENING TODAY NYC: @banks_violette_616 @newdraculatheater DM for address.

Banks Violette
no title/ DEATH (reversed), 2025
graphite on paper
20 x 16 inches
BAVIO029
@banks_violette_616 #banksviolette