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As much as I luv to consider imagined utopias, outlandish world-making, counter-publics convened and invisible levers activating the cogs of gregarious new forms... I like to work in and understand concrete, physical spaces. I make conceptual works, and​ Lanchonete.org is my big baby...a site-specific project in São Paulo. This is the 'site' I care most about because I live in the same community. I’m also involved in Guapamacátaro Center for Art and Ecology outside of Michoacán (Mexico); the historic Westbeth Artist Community (and an artist safety hosting prototype) in NYC's West Village; and the Atelier Moustapha Dime on Gorée Island off the coast of Dakar. 


For three years I helped conduct an experiment called the Liminus Institute in Woody Point, Gros Morne National Park, Newfoundland, Canada. Cities (like NYC and São Paulo) and towns (like Bradyville and Woody Point) interest me a lot, but so does the countryside. In 2019 I got the chance to stay at São João Residency and farm in Rio State (Brasil) and also visited my pal, Adham Bakry and his popular heritage museum project in Port Said (Egypt).

I lived in Khartoum during a moment in the peace process six years before the referendum that would officially separate (North) Sudan and South Sudan giving Africa its newest state around 2012. When there I got to know Gadalla Gubara and worked with his daughter Sara to start an effort for preserving his archive from the first independent film studio in Sudan. I write about this on the freeDimensional site

Making a Host-an-Occupier guide with Wooloo (Denmark), Alicia Marvan (Mexico) , Niki Singleton (Canada) and Occupy Wall Street; a process developed along with freeDimensional, the Townhouse Gallery, Inklusion and Tadamon refugee council called Living Together Cairo; and the unique collaboration between the Empty Vessel Project and Senegalese lawyer/artist, Bara Diokhane described in A Ship of Freethinkers, Hemmed In by Landlords (New York Times. October, 2006) also come to mind.