• 2022

    While humans are paused in a frenzied standstill, they become militant: electro-ants cause short circuits in factories. It is high time to make contact in order to make common cause against fossil fuel-dependent catastrophe capitalism: two species, one …

  • 2022

    Demos is an illustrated speculative fiction novel in development. 530 pages with illustrations. “The pledges crept through the woods in single file—it was hot,  buggy, and the air stank of diesel. Down below they could make out someone preaching and pe …

  • 2021

    I used to think that to be relevant as an artist was to participate in the logic of the market, but that changed in 2011…This visual reflection was published in Hyperallergic on the 10th anniversary of Occupy Wall Street.All original images are pen a …

  • 2021

    The Graphic story is entitled “The Giant Pit.”  It’s a meditation on art and the economy of the future, the legacy of the Guggenheim family, and hopefully you’ll appreciate the dark narrative humor and intense detail of the drawings as you journey into …

  • 2021

    https://hyperallergic.com/615843/why-the-art-world-needs-populism/

  • 2020

    A small table set with an empty pie tin and a can of Reddi-wip. Fischer walks onto stage with a theater seat strapped to his body like a shield. Hello! We caught each other at a strange moment, not a particularly safe moment, especially for an activist. My name is Noah Fischer: I am an activist, or at least I was, before this moment. But I got myself all freaked out about the potential violence of the Left. And that’s what I’m working with now. So I’d like to get you freaked out too.

  • 2019

    September 17, 2011, a talking coin circulated through the New York streets of Occupy Wall Street blending outrage and humor to proclaim broken trust in capitalism. In the utopian urban camp, the talking coin met an activist from the 1970’s known for throwing pies in the face of the powerful. Noah Fischer, the talking coin of 2011, speculates on methods beyond the violence of pies for confronting dystopia head on.

  • 2019

    This essay published in Out of Place: Artists, Pedagogy, and Purpose, edited by Tim Doud and Zoë Charlton. Art is not a practical career and people generally know this. One who takes it up ought to eventually make peace with this fact but that’s not me …

  • 2018

    Debtfair New Mexico is a project of Occupy Museums.

  • 2018

    The bronze public monuments built to cut through time as Shackleton’s Endurance was built to cut through arctic ice are arriving in our present moment as anachronistic vessels. Whether appropriate or not, they refuse to budge from public space.

  • 2017

    Debtfair was included in the 2017 Whitney Biennial. In 2012, Occupy Museums launched Debtfair, an exhibition and organizing platform that groups artists and artworks by their debts and other financial realities. The system reveals the relationships binding individuals to the banks holding their loans as a hidden but highly consequential layer underneath the surface of American art. For the Whitney Biennial iteration of Debtfair, Occupy Museums announced a national call for American artists to answer questions relative to their economic realities for inclusion on debtfair. org.

  • 2017

    On #J20- the day of Trump’s inauguration ceremony in Washington DC, I co-organized a speakout with  artists, poets, and activists responding to the following questions at the Whitney Museum.

  • 2016

    Dear Friends, we need art now more than ever. Artworks are”real answers to the puzzle externally posed to them” as Adorno wrote. And what a puzzle! And what better form than theater? Ritualistic life-acting. Experiments for potential revolutions.

  • 2016

    Like art markets and financial markets, Bank of NO isn’t confined by national borders. It conducts business in austerity-bound Cyprus and now the city of Leipzig. Bank of NO crosses over the waters of the Mediterranean and it also crosses the waters of history. In Leipzig it will now re-open Bankhaus Meyer & Co, the last private bank in the GDR whose owners became refugees from Nazi Germany in an earlier chapter of history. This makes a circular migration through time with people now crossing the Mediterranean in hopes of reaching Germany.

  • 2016

    Does art speak in commands when a museum is run like a dictatorship? This question initiated our project. We are artists who are critical of the abuse of labor as modus operandi. From preliminary research it seemed that such a situation existed at the Wroclaw Contemporary Museum (MWW). Abuse of power is a fitting theme because the particular museum in question is situated in a former Nazi bunker.

  • 2012

    Occupy Museums (OWS) participated in the 7th Berlin Biennial from June 1-14th.  We saw this as an opportunity to share ideas, resources, tactics, challenges, and solutions with our international partners in a world struggle for economic justice.  It was as a risky experiment between activists, governments, and cultural institutions which could possibly offer unique exposure and international connectivity. The risk was co-optation of our movement’s grassroots power. We hope that the relationships we build will open lasting lines of communication for this global- movement.