• 2014

    In exchange for action.  

  • 2014

    In exchange for resources (to create more art).

  • 2014

    “Mask of Money” an artwork/artifact from the 2011 Occupy Movement positioned on a pyramidal display structure was included in the exhibition, and in January an “Activist Summit” provided means to “unfreeze the frame” of the exhibition by holding an assemby which ended in an action to intervene in the curatorial text and exhibition walls.

  • 2014

    In exchange for a personal or collective art-debt bailout (www.debtfair.org)

  • 2013

    A project of Performa 13, artist Pawel Althamer in collaboration with Noah Fischer, Roman Stanczak, Szymon & Bruno Althamer, Rafal Zwirek and the Aaron Burr Society present a space of performative possibility at BiBA of Williamsburg, open from November 2-21 2013.

  • 2011

    “The ability to construct symbolic objects attains its greatest triumph in money.  For money represents abstraction at its purest form; it makes comprehensible the most abstract concept …thus money is the adequate expression of the relationship of man to the world which can only be grasped in single and concrete instances yet only really conceived when the singular becomes the embodiment of living mental process which interweaves all singularities and in this fashion creates reality.” -Georg Simmel,  The Philosophy of Money

  • 2009

    Electrical Forest: Made in Troy is a dense constellation of actual felled trees, surrogate trees, handmade leaves, leafy projections, found objects, and mobile sculptures and lanterns. A site-specific work, the Forest invites the contemplation of nature, art, and the sublime—conjuring the regional history of the 19th century Hudson River School. Additionally, Fischer’s method of construction draws more specifically on Troy’s industrial legacy. The piece begins with a week long “Factory Phase,” during which Fischer transforms the Arts Center into an industrial production line.

  • 2008

    The object that we call “monitor” is at once ubiquitous, obsolete, and in the end, perhaps a non-object because we gaze into its pixilated illusion, never directly at its shape and mass. Today the clunky beige boxes adorn sidewalk trash piles because their cathode ray tubes have recently given way to the solid-state flat screen. In a backwards-alchemical shift, they have morphed from object of desire into “e-waste.” In this sense, they now monitor the speed of consumption.

  • 2008

    Pop Ark is in search of a stimulating approach to life after global warming. What is happiness when drowned polar bears are washed ashore because they could not find a piece of ice to save them? And when you can no longer trust the sun?

  • 2006

    Rhetoric Machine is a two-room kinetic installation that appropriates the language of movies, television, radio, and speechmaking. Presidential speeches and emotionally laced pop songs serve as the soundtrack for a sculptural light show that marches through the last sixty years, what many would call the golden age of American history.