#CLASS
![](https://freight.cargo.site/t/original/i/a5713630478f25bef093f28c1bb8e99ae16a8d11170e87d75a40b3e9beb6f19d/class1_o.jpg)
![](https://freight.cargo.site/t/original/i/39a59ba914a2618f6ed6845ca2844e542449e338b47aea43ccd31b1d4f1eb260/IMG_2919_o.jpg)
![](https://freight.cargo.site/t/original/i/56ab215e0c364b5519aca03b9f08230dad69596c9a690d464a9416f5698854f4/class4_o.jpg)
![](https://freight.cargo.site/t/original/i/14f5454a728ac88defbeb922af061477289e0a32265eccfab09cb99cbac6f2a3/Magda_Sawon_-class.jpg)
![](https://freight.cargo.site/t/original/i/6e078d88632f258375351b391babbb87380f5f544f75ebfb970083cbcef3ebb2/baloon.jpg)
On or about February 20, 2010, Jen Dalton & William Powhida transformed Winkleman Gallery, NYC into a think tank for approximately one month, complete with blackboards, work tables, beer*, coffee-makers* and a mini-fridge*. They invited a bunch of awesome artists, educators, curators, critics, art-lowers/haterz, ect ect and active participation in this project - including me!
Our goal was to find answers to such questions as:
*Is contemporary art a luxury commodity for the wealthy that limits the possibility of ownership, understanding, and access based on class, education and geography? If so, why exactly is that a problem?
*Why do people keep making art (or writing about it, or showing it, or caring about it) even when they don’t ever earn any money from it?
*When/if artists do manage to earn some money from their work, why does it sometimes make them feel queasy to sell their art to wealthy collectors?
* What are some possible viable alternatives or modifications to the current commercial art market system? What’s wrong with Capitalism? Isn’t it great!?
* Ect, Ect.
Find out more here
I contributed with the POWERLESS100 list, and Maps of the Art System to take-away for free whilst participating in some class discussions and activities such as Man Barlett's #24hr Boom & bust