ArtFCity: A People’s Monument to Anti-Displacement Organizing

A People’s Monument to Anti-Displacement Organizing


“Gentrification is displacement and replacement of people for profits”

–definition from the School of Echo Los Angeles

This definition of gentrification sits at the top of A People’s Monument to Anti-Displacement Organizing, a new collaboratively produced art piece that is viewable, as a part of the Third Wave of the AgitProp! Show at the Brooklyn Museum. In the words of its curators, Agitprop! “connects contemporary art that advocates for social change with many activist movements throughout the 20th century,”

The Monument currently functions as a community educational board with a narrative that will change as actions or new information arises around Mayor DeBlasio’s rezoning plans. It features a black-led activist group called Movement to Protect the People (MTOPP) that is struggling against rezoning in highlights in Crown Heights.

Why did this Monument get built?

As two of the artists who have participated in the collective process behind the Monument, we want to lay out the unique community-driven process we went through to produce the monument. We also wanted to show how the Monument itself is a mobilization tool addressing today’s pressing issue of gentrification in Brooklyn and around the city.

Before we begin, though, it’s it’s important to lay out what’s at stake. Housing and gentrification is on everyone’s minds in NYC since just this past March, the city council recently passed the mayor’s“affordable”housing plan, known as mandatory inclusionary zoning. Critics of the plan say it would allow developers to build taller and denser buildings in the 15 neighborhoods he’s targeting for rezoning in low-income neighborhoods across the city – from East New York to Jerome Avenue in the Bronx. Mayor DeBlasio claims that as long as 25-30% of the apartments rent out at less than “market rate” value then the rest can be market rate – but the so called affordable housing is far from affordable for those that currently live in those neighborhoods.

There is a lot of money on the line and the influence of those who want more of it is beginning to look a little nutty.  For example, JDS Development Group and the Chetrit Group have put forward a plan for a giant skyscraper in downtown Brooklyn that is literally twice as tall as Brooklyn’s current tallest building, the Fleet Building which is 32 stories. The building serves as a metaphor for the current massive construction boom in luxury developments that promises to remake the city if unimpeded.

In some cases these new buildings include so-called affordable units, a term so far from reality it’s laughable.  Most so-called affordable units will be priced at 60 percent of the Area Median Income, which means that low wage workers, even if $15/hour can be achieved, will not be able to afford them.  Making this situation worse, are the serial arguments in the mainstream press lauding the wisdom of answering the city’s housing crisis by building affordable units into giant luxury developments ignore that what is deemed “affordable” will still push low-income residents out.

Given that most rezonings are happening in the city’s poorest neighborhoods, and the majority of NYC jobs since 2009 have been created in low-wage industries, the potential number of displaced residents could be much larger than current estimates. Low wage earnings do not even come close to keeping pace with market rents. DeBlasio’s plan simply does not speak to that reality.

And it certainly doesn’t speak to the reality many people of color face in the city. This process disproportionately affects people of color, because concentrations of more affluent residents move into neighborhoods to populate these developments. Federal studies show that on average the net worth of African American families is approximately one fifteenth of white families. So rezoning leading to extremely high market rate rents and those slightly below market contributes to the whitening of city neighborhoods.

Leveraging Our Collective Power as Artists and Activists

It’s important to note that our A People’s Monument to Anti-Displacement currently in the AgitProp! show at the Sackler Center is not the result of an invitation by the Brooklyn Museum but rather came out of a demand and subsequent negotiation between the museum and artists after the fallout from the Real Estate Summit in November 2015.  Activist coalitions like Brooklyn-Anti-Gentrification NetworkArtist Student Affordability Project (ASAP), as well as artists in AgitProp! like Like Not and Alternative and the Illuminator Collective organized large protests which were widely covered in the press, building up public pressure on the museum for a negotiation process to begin.

Timing was everything. The show organization, which was conceived as an exhibition curated  in three “waves”— first round of artists, chosen by curators, were asked to choose the next round, who in turn chose the third wave— opened right after the protests against the Museum and the Real Estate Summit. This collision of the protests–clearly a source of embarrassment to the institution– with what was meant to be a historic political art show that would highlight their progressive cultural agenda,  provided a unique opportunity to pressure the museum itself to support an honest dialog about gentrification.

Come January 2016, only two months after artists and activists had put pressure on the museum’s tacit support of local real estate developers, a group of us met with museum curators Saisha Grayson, Jess Wilcox, Catherine Morris, Stephanie Weissberg, and the new director, Anne Pasternak.  In this meeting, we echoed the demands at the heart of the November protests, calling for the  museum to never again rent their space to a Real Estate Summit. Additionally we asked  museum to issue a statement that they would stand with the local community who is facing displacement and proposed adding an additional space to the exhibition for programming that spoke directly to gentrification. Although the Monument process has moved forward, we have yet to hear a response from the director regarding a change in rental policy or the proposed statement.

That’s been a great disappointment and one we’d like to addressed while the monument remains on view. That monument was produced in the period after the meeting—February through April—by a collective formed to to carry out anti-gentrification level of the show.  This  consisted of Agitprop! artists along with artists of color and most importantly people organizing against displacement in Crown Heights. Some of the artist collectives currently in AgitProp! like Not An Alternative, The Illuminator, Occupy Museums, Ultra-Red along with artists and cultural workers like myself (Betty Yu),  Sarah Quinter, Antonio Serna and Alexander Dwinell met with Alicia of MTOPP regularly for three months to sketch out the key concepts ofThe Monument. Far too often, we see social justice art, culture and media created by a small white group of artists who are removed and lack first hand experiences with the issues they are seeking to expose.  The group of artists who decided to donate their labor to help produce this wall – all in one way or another felt a visceral connection to the issue of displacement.

Agitprop and Pop Ed Meet – So what is in the actual Monument?

One of our hopes for the monument was that it would debunk popular misconceptions about rezoning—he big one being that they are inevitable because development, like capitalism, is process that can’t be disrupted. Another pervassive myth  is that rezoning is, as Mayor De Blasio likes to purport, the best solution for affordable housing (which it is not).

More specifically The Monument features the local organizing fight headed by The Movement To Protect The People (MTOPP) a black-led community organization that has been successfully fighting upzoning of the Flatbush neighborhood of Brooklyn for the two years. It shares effective organizing strategies and tips which has been successful so far in stopping the rezoning process in Community Board 9. The rezoning would allow for massive displacement of mainly Caribbean low-income residents and families in the part of Crown Heights that borders Lefferts Garden.

Through graphics, facts and visuals – the Monument illustrates the struggle against displacement of people of color across the city and presents specific information about the fight against rezoning in Community Board 9: the Museum’s own backyard. For example, we added a section called “Agents of Gentrification” which exposes all the parts that are working to displace and gentrify – particularly the NYC Planning, REB-NY, greedy landlords, politicians. We put together a map showing rent burden areas of Brooklyn, showing that communities of color are most rent burdened, meaning they spend upwards of 68% of their income on rent. And finally, we outlined “the Great Con” —tricks used to con communities into participating in the rezoning process, and a map called Displacing People of Color’ which shows the decrease black and latino populations and the growing white (non-hispanic) populations.

The video in the center of the monument shares MTOPP’s effective organizing strategies.  It also highlights the brutal arrest of Alicia Boyd, (one of MTOPP’s lead organizers) at a Community Board 9 meeting. Itshows the full arrest unedited – as Alicia is being dragged by 4 police officers with a table almost crushing her. This scene demonstrates the way police have been used to repress community opposition to rezoning and gentrification.




Central in the monument is a six-minute video documenting the fight to stop the rezoning of Crown Heights/Flatbush, a fight that is occurring on the doorsteps of The Brooklyn Museum. The video highlights the insidious role of local city council members as well use of police force as an state apparatus to repress dissent.

The Urgency To Act

The monument also is intended to act as an organizing station against displacement and gentrification. We created sections entitled “Tips for Organizing Against Rezoning” and “Take Action” which invite people to participate in the fight to stop rezoning in Crown Heights/Flatbush and citywide. A petition demand no rezoning in Community District 9 (in Crown Heights/Lefferts Garden)  is on display for visitors to sign.

Most importantly, though we wanted to ensure that the voices of those most impacted by gentrification–namely people of color– guided the content and overall political vision of the piece. Solutions and ways for people to plug in were essential as well. As a group we were clear that The Monument must be a piece of “AgitProp” that serves its’ utility as art that can agitate, educate and provoke the public to help take action to help stop massive gentrification in New York City.


Betty Yu is a Chinese-American NYC-based interdisciplinary artist, filmmaker, media educator and longtime social justice activist. She is a co-founder of a newly formed collective, Chinatown Art Brigade.

Noah Fischer is a Brooklyn-based artist and direct action organizer with Occupy Museums and Global Ultra Luxury Faction.

New York Times: Galleries Scramble Amid Brooklyn’s Gentrification

By Holland Cotter

ART has always been used to sugarcoat economic power moves. In Manhattan, the arrival of galleries can help make real estate hot, and for a while, art gains from the cachet. In Brooklyn, gentrification seems to have the opposite effect: It kills off the art that helped inspire it. Not long ago, a wave of start-up art spaces was building in Dumbo and Williamsburg, only to die down once property values rose, a dynamic that may now be underway in Bushwick. Whatever the case there, in a once rent-friendly borough, galleries and artists alike are scrambling, a reality that tends to promote resourcefulness in exhibition options and to give at least some art being shown and produced a political edge.

BROOKLYN MUSEUM I’ll start with a museum exhibition that has the fluid, improvisatory sprawl of a giant gallery group show. It’s an international survey called “Agitprop!,” in which politics is loud, clear and polyphonic. The show opened in December at a third its present size, then unfolded in three stages, with earlier artists nominating others for inclusion, a process that has brought outstanding figures like Jelili Atiku, from Nigeria; Beatriz Santiago Muñoz, from Puerto Rico; and Inder Salim, from India, into the picture.

Much of the work is ephemeral, preserved as documentation. But there are some large-scale objects and installations, two of local relevance. One is the four-foot-high bust of the National Security Agency whistle-blower Edward J. Snowden, made by Doyle Trankina and illicitly placed by two other artists, Jeff Greenspan and Andrew Tider, in Fort Greene Park a year ago. The police quickly removed it, but an activist collective called the Illuminator just as quickly replaced it with a photographic projection.

In November, the Illuminator, working with the Crown Heights Tenant Union, made projections specifically to address gentrification and to protest the meeting of the annual borough Real Estate Summit, which rented spaceat the Brooklyn Museum. The museum, after taking heat for accommodating the summit, added to “Agitprop!” a multimedia piece assembled by community advocates and artists, called “A People’s Monument to Anti-Displacement Organizing.” It includes basic information on the city housing crisis; updated news on Mayor Bill de Blasio’s plans for creating “affordable” units through Brooklyn rezoning; and an artfully rousing video — by Noah Fischer, Betty Yu and Alicia Boyd of the Crown Heights and Flatbush-based Movement to Protect the People — showing resistance in action.

Occupy Museums in Agitprop! at Brooklyn Museum


“At key moments in history, artists have reached beyond galleries and museums, using their work as a call to action to create political and social change. For the past hundred years, the term agitprop, a combination of agitation and propaganda, has directly reflected the intent of this work.

Agitprop! connects contemporary art devoted to social change with historic moments in creative activism, highlighting activities that seek to motivate broad and diverse publics. Exploring the complexity, range, and impact of these artistic practices—including photography, film, prints, banners, street actions, songs, digital files, and web platforms—the exhibition expands over its run within a unique and dynamic framework. It opened with works by twenty contemporary artists responding to urgent issues of the day, in dialogue with five historical case studies. A second wave of contemporary work was added on February 17, 2016 and a third will be added on April 6, 2016—with each wave of artists choosing those in the next.

These projects highlight struggles for social justice since the turn of the twentieth century, from women’s suffrage and antilynching campaigns to contemporary demands for human rights, environmental advocacy, and protests against war, mass incarceration, and economic inequality.”

Occupy Museums offered a piece called “Eroding Plazas and Accumulating Resistance”–a relief map piece for the second wave of the show. It was meant to be a tool used in an outdoor action. In this piece, Occupy Museums teases out a relationship between ultra luxury global real estate in Manhattan and rapid speculation/displacement in Brooklyn. Both processes are unfolding right around the major museums: the Met and Brooklyn Museum. What role do museums play?