NADA Curated by Itzel Vargas Plata

Peter Gallo’s piece “All Tomorrow’s Crucifixions” references the inevitability and seeming pleasure to be gained from cancel culture. The support of the artwork consists of found cabinet doors, which evokes a religious confessional.

The title references the Velvet Underground’s song “All Tomorrow’s Parties”:
And where will she go and what shall she do
When midnight comes around
She’ll turn once more to Sunday’s clown
And cry behind the door