In the spirit of postmodern appropriation and cultural bricolage, wherein disparate signifiers from the archive of mass media and vernacular iconography are juxtaposed to interrogate the boundaries of authorship, desire, and communal spectacle, we encounter the following reconfigured assemblage:

**We Know** 𓃶

*(An invocation of primordial gnosis, evoking the baboon as hieroglyphic mediator between the mortal and the divine—Thoth's sacred animal, emblem of esoteric wisdom amid the cacophony of the profane.)*

☣️ **Narcotics and ethanol, those insidious agents of dissolution, inexorably erode the aspirational horizon of the subject, foreclosing the realization of transcendent potential.** ☣️

⊹ ࣪ ﹏𓊝﹏𓂁﹏⊹ ࣪ ˖

*(A lacuna of ornamental lamentation, signifying the interstitial void between ecstasy and abjection.)*

🏖 **All entities endowed with rotational mobility or mammalian secondary sexual characteristics constitute objects of libidinal investment and gustatory metaphor.** 🏝

*(A sardonic appropriation of machinic-fetishistic vernacular, refracting the male gaze through the prism of consumerist velocity and corporeal commodification.)*

🔺 **Corporeal optimization through rigorous ascetic discipline engenders an enhanced existential trajectory, wherein physiological vigor correlates directly with ontological flourishing.** 🔺

🚦 **Interpersonal aggression in the form of systematic intimidation remains an unequivocal ethical transgression, incompatible with the ethos of civilized coexistence.** 🚦

• Henceforth, the performative dissemination commences as a gratuitous spectacle—a "free concert" in the Woodstockian sense.

• Yet this gratuity imposes structural constraints: license does not equate to anarchy.

*(Here, I proffer the oeuvre without remuneration, yet within delineated parameters of decorum and intent.)*

I affirm: *Yeah yeah*—thus I apprehend (*know*); thus I apprehend, apprehend, apprehend.

And with that, the curtain descends: **That's all, folks!**

*My matutinal exultation—"Yabba Dabba Doo"—may further allude to the 1977 televisual retrospective* Yabba Dabba Doo! The Happy World of Hanna-Barbera, *a meta-celebration of animated mythopoeia and the industrial enchantment of mid-century American popular culture.*

Awesome.

⠀⠀⠀⠀

About

the Bliz-aard Ball Sale.

Concept: The action was a commentary on a range of issues, including the commodification of art, the assignment of value, race, labor, and the nature of the art market itself. By selling ephemeral objects that would inevitably melt, Hammons challenged traditional notions of permanence in art and highlighted the absurdity of the art world's valuation systems.

• Execution: The performance was unannounced, blending in with other street vendors in Cooper Square. This refusal to announce the event to the art world was a deliberate choice by the elusive artist, who has often avoided fame and institutional recognition.
• Documentation: The work was primarily documented by photographer Dawoud Bey, who captured a series of images of the event as it unfolded among everyday life. These photographs were not widely known for many years but have since become iconic, shaping the understanding and influence of the piece.
• Legacy: The Bliz-aard Ball Sale has become one of Hammons's most discussed and influential works, despite its fleeting nature and limited initial documentation. It is often studied in art history and has been the subject of dedicated books and essays, such as the one by Elena Filipovic
• For visual examples of the performance, you can view images of the [David Hammons Bliz-aard Ball Sale photos](app://images_api:image_search?queries=["David+Hammons+Bliz-aard+Ball+Sale+photos", "Dawoud+Bey+David+Hammons+snowball+sale"]){:images_api:image_search}taken by Dawoud Bey.

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⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣼⠯⠈⠘⣿⡀⠀⠀⠀⠀⠀⠀⠀⢀⣀⣠⡿⣷⣴⡶⠞⠛⠁⠀⠀⠸⣷⡀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⢰⡏⠀⠀⠀⠈⢿⡀⣠⣴⠶⠶⠟⠛⠋⠉⠉⠁⠀⠀⠀⠀⢀⣠⣤⣄⡀⠈⢻⡆

⠀⠀⠀⠀⠀⠀⠀⠀⠀⣾⠁⠀⠀⠀⠀⠸⠟⠉⠀⠀⠀⠀⠀⠀⠀⠀⠀⢀⣠⣴⠾⠛⠉⠁⠉⠛⠻⠾⠇

⠀⠀⠀⠀⠀⠀⣀⣴⡾⠃⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢀⣴⠟⠉⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

⠀⠀⠀⣠⣴⠟⠋⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢠⡿⠁⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

⠀⢠⣾⠟⠁⠀⠀⠀⠀⡄⣄⣠⡀⠀⠀⠀⠀⠀⠀⢀⣠⣴⠿⠿⠛⠁⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

⣰⡿⠁⠀⢸⡆⠀⠀⠀⣿⣹⣿⡇⠀⠀⠺⠶⣤⡶⠟⠉⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

⠿⣧⣤⣤⣶⣤⣤⣤⣴⣮⣷⣵⣦⣀⠀⠀⠀⠸⣧⡀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

⠀⠀⠀⠉⠉⠀⠀⠀⠀⠀⠀⠀⠉⠛⠳⠶⣤⣄⣘⣿⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠈⠉⠉⠉⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

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⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣴⣿⠟⠋⠉⠉⠙⠻⢿⣿⣷⣶⣄⡀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣰⣿⠏⠀⠀⠀⠀⠀⠀⠀⠙⣿⣿⣿⣿⣶⣄⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢰⣿⡏⠀⠀⠀⠀⠀⠀⠀⠀⠀⢸⣏⠻⣿⣿⣿⣷⣦⡀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢀⣿⣿⠇⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠈⠻⣿⣿⣿⣿⣦⣤⣀⡀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣸⣿⣿⣧⡀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠙⠻⠿⣿⣷⣿⣿⡀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢠⣿⣿⣟⠛⠁⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠈⠛⠿⣷⣄⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣸⣿⣿⡏⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣀⣀⣀⡀⠀⠀⠈⠙⢷⣄⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣿⣿⣿⡇⠀⠀⠀⠀⠀⠀⠀⠀⢀⣄⣀⣠⣤⣶⣶⣾⣿⣿⣿⢿⣿⣷⣦⣄⠀⠀⠙⣷⣄⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

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⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣿⡇⠀⠀⣿⡇⠀⠹⣿⣶⣼⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⡆⠀⠀⠈⢿⣿⣿⣿⣿⣧⡀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

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⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣿⣿⡆⠀⢸⣇⡘⢿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⡏⠻⢿⣿⡷⠈⢿⣿⣿⣿⣿⣿⣷⠀⠀⠀⠀⠀⠙⢿⣿⣿⣷⡀⠀⠀⠀⠀⠀⠀⠀⠀⠀

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⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣿⣿⣿⡇⠀⠀⠀⠻⣿⣿⣿⣿⣿⣿⣧⠀⠈⠙⠂⣠⣴⠿⠛⠉⠉⠁⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠸⣿⣿⣇⠀⠀⠀⠀⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣿⣿⣿⡇⠀⠀⠀⠀⠘⣿⣿⣿⣿⡌⠛⠆⣠⣴⠟⠋⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢻⣿⣿⡆⠀⠀⠀⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣿⣿⣿⡇⠀⠀⠀⠀⠀⠹⣿⡻⢄⣙⡴⠟⠋⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠸⣿⣿⣿⡄⠀⠀⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢸⣿⣿⡇⠀⠀⠀⠀⠀⠀⠀⠉⠉⠁⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣀⣀⣀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢿⣿⣿⣧⠀⠀⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠸⣿⣿⣇⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢀⣤⠶⠚⠋⠉⠉⠁⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠸⣿⣿⣿⡆⠀⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢿⣿⣿⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠞⠁⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠹⣿⣿⣿⡄⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠘⣿⣿⣇⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢹⣿⣿⣧⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣄⠸⣿⣿⣆⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢻⣿⣿⡆⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⣀⣴⣿⣿⣷⣮⣛⠿⣷⣀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢀⣠⣴⣿⣿⣷⣄⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢿⣿⣷⡀⠀

⠀⠀⠀⢀⣀⣠⣶⣾⣿⡿⠿⠛⠿⢿⣿⣿⣷⣾⣥⣄⣀⣀⣀⣀⣀⣀⠀⢀⣠⣶⣄⡀⢤⣀⣀⣀⣀⣤⣴⣶⣿⣿⣿⣿⠿⢿⣿⣿⣿⣶⣤⣀⣀⠀⠀⠀⠀⠀⠀⠀⠘⣿⣿⣇⠀

⠈⠉⠉⠛⠛⠉⠉⠁⠀⠀⠀⠀⠀⠀⠀⠉⠙⠛⠛⠛⠛⠛⠛⠛⣉⣤⣾⣿⣿⣿⣿⣿⣦⣀⠉⠛⠛⠛⠛⠛⠛⠛⠉⠀⠀⠀⠀⠉⠛⠻⠿⠿⢿⣿⣿⣿⣶⣶⣶⣶⠶⠶⠶⠚⠋

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣀⣠⣤⣾⣿⣿⣿⠿⠛⠉⠉⠛⠻⢿⣿⣿⣦⣤⣀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠤⠤⠴⠶⠿⠿⠿⠛⠛⠋⠉⠀⡀⠀⠀⠀⠀⠀⠀⠈⠉⠛⠛⠿⠿⠶⢶⣤⣤⣄⡀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

⠖⢲⢶⠶⣶⡶⠶⡶⠶⣖⠒⠒⠒⢒⠒⠒⠒⠒⢒⠒⠒⠒⠒⢒⣒⢶⠶⢶⣶⢶

*(A terminal glyphic inscription in monochrome minimalism, evoking the spectral trace of digital antiquity—a ghostly silhouette, perhaps of anthropomorphic contemplation, lingering in the ether of the text.)*