Silver Baits, Silver Archives is a multi-chapter series unfolding across exhibitions, performances, screenings, and site-responsive interventions from June 20 – July 25, 2026. Through installations, moving images, sound, performance, and spatial choreography, this project explores surveillance, collective memory, mistranslation, and the unstable relationship between witnessing and control. Across three interconnected chapters, participating artists collectively examine how self-surveillance and archives under the table deform, echo, conceal, and rehearse power.

Chapter 1:

Distracted Soldiers

Artists: Kyoungho Isaac Kim, Coco Klockner, Alyssa Matthews, Talia Rudofsky, Chase Satterwhite, Varvara Tokareva, Aineki Traverso, Kay Yoon, Monsieur Zohore

Distracted Soldiers is the first chapter and foundation of this culminating series. The stanchions stretch across the room, multiplying into a serpentine route that quietly choreographs movement, attention, and waiting. In this exhibition Distracted Soldiers, the entanglement of discipline and distraction exposes itself. Retractable queue barriers that maintain the order of lines will transform from auxiliary tools of order into the subject of space itself. The entire site will be covered by a serpentine path, and viewers will be compelled to move along predetermined routes. The space is choreographed as a site of continuous drill: monitors replay delayed images; mirrors generate returning lines of sight, quietly.

The barriers are strangely gentle, arranging bodies in the most ordinary way: the crowd is segmented into units within them; gazes slide above the belts, mutually visible. Mirrors reflect endlessly repeating queues—we watch order, and we also become the image of order.

This exhibition features Kyoungho Isaac Kim, Coco Klockner, Alyssa Matthews, Talia Rudofsky, Chase Satterwhite, Varvara Tokareva, Aineki Traverso, Kay Yoon, and Monsieur Zohore. Through installations, moving images, sound, performance, and spatial choreography, this project explores surveillance, collective memory, mistranslation, and the unstable relationship between witnessing and control. Across three interconnected chapters, participating artists collectively examine how self-surveillance and archives under the table deform, echo, conceal, and rehearse power.

Chapter 2:

Archives are Under the Table

Featuring theatrical performance and live collaborations by Claire Alrich, edgy body movement performance by Anh Vo, and film screening of ‘Foot Stretcher” by Inbar Hagai.

In this chapter, the archive refuses containment. It slips off the table, dispersing into movement, sound, and embodied encounter. Rather than a site of preservation, the archive becomes a live circuitry—activated, distorted, and redistributed across bodies, space, and time. Claire Alrich’s theatrical participatory performance unfolds as a through-space fabric embodiment, treating the body as both carrier and rupture of recorded experience. Anh Vo will carry megaphones over the queue barriers' obstructions, leading to a reckoning with the invisible power that looms over us and penetrates our very flesh.The screening of Foot Stretcher by Inbar Hagai extends this logic into a durational, intimate discipline: a year-long, near-impossible attempt to become a ballerina, where the body is subjected to regimes of aspiration, failure, and transformation. The archive here is a force that molds—stretching flesh, rehearsing desire, and exposing the violence embedded in ideals of form.

Chapter 3:

Stuttering is Echoing

Artists: Ben Eckert, Ringo Lisko, Ellie Works, Zuni

As the ultimate chapter of Silver Baits, Silver Archives, Stuttering is Echoing is an invitation to local artists to respond to a series of prompts by producing new works or curating site-specific installations that engage in dialogue with the existing exhibition. Four local artists, Ben Eckert, Ringo Lisko, Ellie Works, and Zuni, brought site-specific response to the space, the artworks, the orders and disorders within the exhibition.The echo seeks no origin; it bears witness within repetitive, post-assembled, and reconfigured polyphonic layers, accumulating into a different kind of subterranean memory. “Stuttering” becomes a kinetic force for exhibition activism, used by artists engaged in site-responsive creation to harmonize those hidden fricatives. It pulls back the curtain on the established linguistic anchors within the dynamics of exhibition authority—between action and memory, intimacy and public declaration—thereby also gazing toward the invisible collective action blockages sought by silver baits, silver archives. Echoing guerrillas, standing tall and firm.