This exhibition was organized to provide a social and historical context for The Problem with Triple Candie. It consists of sixteen-foot-long wall, made from salvaged pieces of sheetrock, that is covered in typed manifestos from the early 20th century to the present. The wall includes such classics as Yves Klein’s Chelsea Hotel Manifesto, Tristian Tzara’s Manifesto, Kurt Schwitter’s Cow Manifesto, Valie Export’s Women’s Art: A Manifesto, Gustav Metzger’s Auto-Destructive Art Manifesto, Jiro Yoshihara’s Gutai Manifesto, Pierre Restany’s The Nouveaux Réalistes Declaration of Intention, Mierle Laderman Ukeles’s Maintenance Art Manifesto, the Situationist International Manifesto, Gilbert & George’s Free for All, Filippo Tommaso Marinetti’s Futurist Manifesto, Antonin Artaud’s Manifesto in a Clear Language, and many others.

The wall also includes lesser known manifestos from the past and recent present, including: Susie Ramsay and Rafael Lozano-Hemmer’s OK Art Manifesto, Stuart Home’s Neoist Cultural Conspiracy, Charles Thomson’s Crude Art Manifesto, Oyvind Fahlstrom’s Take Care of the World, Monte Cantsin’s Praxis Manifesto, Johannes Auer’s Manifesto for the Natural Death of a Work of Art and his Manifesto for the Art of Doing Nothing, Gareth Branwyn’s Cut and Paste Manifesto, The Deaf Art Manifesto, Hakim Bey’s Manifesto of Poetic Terrorism, Paul Drexler’s Dreco Manifesto, Mark Amerika’s Avant-Pop Manifesto, and more.