William Banks is a comedian and artist who, prior to his viral prison saga in 2025, was best known for a community that he led called Call World, which he describes on the website as “a planet in an alternate universe ruled by human-headed Worms sexually obsessed with William Banks.” The story goes that Banks was first visited by a worm from Car World after getting stuck in an industrial freezer and coming to terms with his death before eventually being
The theatre has luxurious red velvet upholstered seats, grand ceilings and gilded trimmings. The rows of chairs stretch back into the ostensible blackness, with light beaming from the projector room. Ahead, archival footage of stylish black travelers pack the screen as an unseen narrator discusses the hardships of mid-20th-century black travel.
Man is a thirsty beast, and nowhere is that thirst more acutely exemplified than on Tinder, the matchmaking app that lets users swipe right in their quest to find love, lust, bots, or viral marketers. Now a California-based programmer has tweaked the app’s API, creating a catfish machine that fools men into thinking they’re talking to women — when in fact they’re talking with each other.
The Bed-Stuy Aquarium (also known as the Hancock Street Bed-Stuy Aquarium) is a makeshift goldfish pond located on a sidewalk in the Bedford-Stuyvesant, Brooklyn neighborhood of New York City. The pond, originally formed by a puddle from a leaky fire hydrant, garnered attention from locals and the press beginning at the time of its creation in August 2024.
Mattress Performance (Carry That Weight) (2014–2015) was a work of endurance/performance art which Emma Sulkowicz conducted as a senior thesis during the final year of a visual arts degree at Columbia University in New York City.[1]
If you assign no sound to the redaction in I'm Blue (If I Was █████ I Would Die), it has the same amount of syllables as its referent, the first line of the chorus from Eiffel 65's 1999 chart-topping single, I'm Blue. The last word in that line is spelled out "da," but when you listen to Jeffrey Jey's compressed scatting, it sounds more like "die."
To bring attention to the widespread apathy toward climate change, nonprofit group 350action and agency Barton F. Graf 9000 got a little personal. Tapping into the meteorological legacy of naming hurricanes after people–thereby marring the good names of unsuspecting Sandys, Irenes and Katrinas everywhere–“Climate Name Change” told the same storm story, but subbed in the name of prominent politicians who refuse to acknowledge climate change.
This afternoon, in the Sackler Wing of the Metropolitan Museum of Art in New York, a mother and daughter threw coins into its reflecting pool while a couple posed for engagement photos in front of the Temple of Dendur, the man in red pants and a gray blazer, the woman in a black jumpsuit. A long line snaked out of the temple. It was tranquil, most people speaking in a whisper. That grand space has such an effect on people.
Touko Valio Laaksonen (8 May 1920 – 7 November 1991), known by the pseudonym Tom of Finland, was a Finnish artist who made stylized highly masculinized erotic art, and influenced late 20th-century gay culture. He has been called the "most influential creator of gay pornographic images" by cultural historian Joseph W.
WITH HER 2003 PROJECT UNTITLED, Andrea Fraser throws us an archetype of sexual and cultural identity. More than in her other performances, Fraser here works without the protection of a research-based script, a surrogate actor, or the remove that often characterizes analytical thinking. The central action in Untitled has Fraser and a male client of her US gallery meet for a session of sex and video recording in a New York hotel room.
