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In Letters Sent Sometime After the Continents Divorced, Alicia Escott addresses extinct species as long lost loves.

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For The Cries of San Francisco, artists hawked their goods and services by calling out into the gallery and the city streets.

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Through actions ranging from gathering sidewalk soot to designing rulers based on the lengths of participants’ feet, Futurefarmers: Intervals explored methods of learning about oneself and the world by walking.

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This paper mahjong set is a free twenty-seven page download, and takes twelve hours to construct.

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These ephemera portraits represent improvised issues of Landfill Quarterly, constructed by participants at the 2011 Creative Time Summit and exhibition.

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These cards document responses to a question Brindalyn Webster posed to attendees at Bay Area community meetings: “If this meeting was a piece of architecture, what would it be?”

 

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For Towards a New Theory of Color Reading, Stephanie Syjuco abstracted the content of three Houston-based ethnic and foreign-language newspapers, replacing text and images with coded blocks of color.

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In Imin Yeh’s Legend of the PowerAnimals, 2010 is the year of the Urban Street Pigeon. PowerAnimals stand in for the species that populate the Chinese lunar calendar, questioning ideas about authenticity.

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