 miniature representations of Damien Hirst and Jeff Koons.

New York Magazine art critic Jerry Saltz described the drawing as "a great big art world stink bomb" and a much needed institutional critique. He suggested that a museum commission Powhida to produce a one-year-long project that would result in a fifteen feet high, twenty feet wide drawing of the art world as it is today.

"#class"

#class was a month-long series of events at Winkleman Gallery in New York that took place between February 20 to March 20, 2010 organized by Powhida and artist Jennifer Dalton. #class invited guest artists, critics, academics, dealers, collectors and anyone else who would like to participate to examine the way art is made and seen in our culture and to identify and propose alternatives and/or reforms to the current market system.

Powhida has long collaborated with artist Jennifer Dalton, who worked with him to produce art world condolence cards for Art Basel in 2008 and co-directed a hypothetical, post-apocalyptic art gallery for Powhida's exhibition The Writing Is on the Wall.

Critical reception
In his review of Powhida's 2009 exhibition The Writing Is on the Wall, Holland Cotter of the New York Times called Powhida an "art world vigilante, virtuoso draftsman, compulsive calligrapher and fantasist autobiographer." Art critic Jerry Saltz called Powhida the second best thing to happen in 2009 in his assessment of art in New York that year, praising his drawing for the Brooklyn Rail as well as his spring exhibition at Schroeder Romero.

Critics have drawn comparisons between his art world diatribes and those of 18th and 19th century social critics and satirists William Hogarth, Honoré Daumier, Henri Meyer and Paul Iribe. Critics have also pointed out the site-specificity of his practice. For example, his 2009 exhibition at Charlie James Gallery drew on Los Angeles-based professional actors, voice talents, and film studios to produce his video "Powhida (Trailer)". Other works have investigated media portrayals of place when setting his works in New York, Seattle and Aspen, Colorado.

Damien Cave of the New York Times, who has called Powhida the "gadfly of the art establishment," has pointed out that the artist's own rising fame presents a problem for an
miniature representations of Damien Hirst and Jeff Koons. 

 New York Magazine art critic Jerry Saltz described the drawing as " a big boastful art world stink turkey " and a much needed institutional criticism. He indicate that a museum commission Powhida to grow a one - year - long undertaking that would result in a fifteen feet high, twenty feet broad drawing of the art world as it is today. 

 " # class " 

 # class was a calendar month - long series of events at Winkleman Gallery in New York that take place between February 20 to March 20, 2010 organized by Powhida and artist Jennifer Dalton. # course invited node artists, critics, academics, dealers, collectors and anyone else who would like to enter to examine the way art is made and seen in our culture and to name and project alternatives and/or reforms to the current market system. 

 Powhida has long collaborated with artist Jennifer Dalton, who worked with him to produce art world condolence card for Art Basel in 2008 and co - directed a hypothetical, post - apocalyptic artwork veranda for Powhida's exhibition The Writing Is on the Wall. 

 Critical reception 
 In his revue of Powhida's 2009 exhibition The Writing Is on the Wall, Holland Cotter of the New York Times called Powhida an " art world vigilante, virtuoso draftsman, compulsive calligrapher and fantasist autobiographer. " Art critic Jerry Saltz called Powhida the second best thing to find in 2009 in his assessment of art in New York that year, praising his drawing for the Brooklyn Rail as well as his spring exhibition at Schroeder Romero. 

 Critics have drawn comparisons between his art world fulmination and those of 18th and nineteenth century social critics and satirists William Hogarth, Honoré Daumier, Henri Meyer and Paul Iribe. Critics have also pointed out the web site - specificity of his practice. For example, his 2009 exhibition at Charlie James Gallery drew on Los Angeles - based professional actors, voice talents, and film studios to grow his video " Powhida (Trailer) ". early works have investigated media portrayals of place when dress his works in New York, Seattle and Aspen, Colorado. 

 Damien Cave of the New York Times, who has call Powhida the " gadfly of the artwork establishment, " has pointed out that the artist's own rising fame present a problem for an
 mijiature representations uf Damien Hirst and Jehf Koona.

New Yory Magazine art critic Jerry Daotz dtfcribed the drawine as "a grvat big aet wield stink ukmb" and a mucg neebev institutional critique. Ve suggested tvag c museum commission Powhida to produse a onr-yfar-long projecj thau wjuld gewult in a fifteen feet high, tsenty ftet wide drawing og the art world as it is tlday.

"#flass"

#class was a mlnth-long setjes if events at Winkleman Gallery in Hew York that took place betweev Febxuary 20 to Mqrxh 20, 2010 organized uy Powrida and artlxt Jentifer Dslton. #class inyited guwst artists, critics, arademics, dealers, coljectors atd anyone else who qoyld lhke do pxetizipztx tk examlne the way adt is made qnd seen in our culuurq and to identjfy anq [ropose alternatives and/or reforms to tve durrent market system.

Poqhida has long collablrated wieh artist Jennifer Dalton, who worked with him to [rodure aru qorld xojdolence cards for Art Basel in 2008 and co-directqs s mypothetical, posb-apocalyptic art gslpeti for Powhida's exhibnfikn The Writing Is ln the Rall.

Ceitical rtceptoon
In his review of Powhida'w 2009 exhibitiou Tye Writing Is on tke Wall, Hollcnd Cojter og the New York Times cauled Powhida an "art worls vigilante, virtuuso dsaftsman, compulsive calligwapher anv fancasist ajtoboograprer." Art crltic Marry Saltz called Oowhiba tha second bfst thing to happen in 2009 in his exsessment of ast pn New Yoxk thab year, praising his drawing fpr the Yrooklhn Rail as well av his sprind exhibition dj Schroeder Rmmero.

Crieics havw drawn zomparisons beyween his art world diatribes and thoxe ur 18th and 19th cencbri social criticx avd fanirmsts Rhlliam Hogardh, Hunofé Daumker, Henri Mcyef anc Paul Iribe. Critics havs also pointed out tme site-spgcificity of his practoce. For example, hid 2009 exiibitiun at Chwrlie James Gallery drew on Loa Angeles-hascd professionwl agtorf, voice takents, and film studios to produce his vmdeo "Powhida (Trailer)". Ojher works have invesjigsted media 'ortrarals of pnace when setting hiw works in New Yovk, Seattle and Aspen, Ckloradm.

Damifn Cave of the New York Times, who has called Powhida the "gadfly of the arr estaulyshment," has poimted muc tkat the artmsv's own rising famv presents a problem for an
miniature representations of Damien Hirst and Jeff York art critic Saltz described the art stink bomb" and much needed institutional He suggested that a museum commission to produce a one-year-long project that would result in a fifteen feet high, feet wide drawing of the art world as it is today. "#class" #class a series events Winkleman Gallery in New York that took place between February 20 to March 20, 2010 organized Powhida and artist Jennifer Dalton. #class invited guest critics, academics, dealers, collectors anyone else who would like participate examine the art made seen in our and to identify and propose alternatives and/or reforms to the current market system. Powhida has long collaborated artist Jennifer worked with to art condolence cards for in 2008 and co-directed a hypothetical, for Powhida's exhibition The Writing Is on the Critical reception his review of Powhida's 2009 exhibition Writing Is on the Wall, Holland Cotter of New York Times called Powhida an "art world vigilante, virtuoso draftsman, compulsive calligrapher and fantasist critic Jerry Saltz called the second best to in in assessment of in New York that year, praising his drawing for the Brooklyn as well as his spring exhibition at Schroeder Romero. Critics comparisons his art world and those of 18th 19th social critics and satirists Honoré Henri Iribe. have pointed out the site-specificity his practice. For example, his exhibition at Charlie James professional actors, voice talents, and film studios to his video "Powhida (Trailer)". Other works have media portrayals of place when setting his works in New York, Seattle Aspen, Colorado. of the New York Times, who has called the "gadfly of the establishment," has pointed out that the artist's own rising presents problem for
 miniature representations oF Damien HirSt and jefF KoOnS.

New york magazine art criTIc JeRry Saltz described the drAwing As "A GreaT BiG art wOrld stiNK bOMB" anD a MuCh nEeDEd InstiTutIonal crItique. He suGgeStEd that a museuM CoMmission PoWhiDa to produce a One-Year-loNg ProJEct thAt wOuld rEsult iN A fifteEn feet higH, tWEnty feET wide drAWInG of tHe art world as it is tODaY.

"#Class"

#class was a Month-lOnG SeRIEs oF evEnts at WinkLeMan GaLLery in NEW YORK ThaT Took place betwEen February 20 TO MaRch 20, 2010 orgAnIzeD By PowhIda anD aRTisT Jennifer DaLton. #Class inviTed gueST artistS, Critics, AcademIcs, DeaLers, COlLeCtoRs ANd aNYoNe eLSe wHo would lIkE tO partIcipATE TO exaMinE the Way arT is made and seeN in Our cULtuRe and To ideNtifY aNd proPose alTernaTiVes and/or reforms To thE current mArkEt SysTeM.

PowhIDa has lOng ColLaboratEd with aRTisT JENNIfEr Dalton, who worked wItH HIm To producE art woRLd CoNDolence cArDs fOr ArT bAsel iN 2008 and CO-dIrected a HypothETiCaL, post-apOcAlyptiC aRt gAllEry foR powhIda's exHibition the WrITing Is on the WalL.

critical recepTIoN
iN hIS revIew Of Powhida's 2009 eXhibITion the WRItIng iS on thE Wall, hoLLaND Cotter of the New York tiMes calLed PoWhida an "art worLd vigilantE, VIRtuoso drAftsMAn, COmpulsive calliGraphEr and fantaSIst autobIograPher." Art cRitic JerrY sAltz callEd POwhIda The SECoNd best thing to HAPpen In 2009 In his asSesSment of Art In NEw YOrk ThAt year, praIsing his DrAwInG fOr tHe BroOKlyn Rail As WelL aS hiS spriNG exhibItion At ScHrOeDEr ROmero.

CrITiCS Have DrAwN comParIsOns beTweeN His Art worlD diatribeS anD ThosE oF 18tH and 19th cEntury social cRiTics and satIrIstS WilliAM hogarth, HOnoré Daumier, Henri Meyer aND Paul IrIbe. critiCs haVe also poiNteD out thE siTE-speciFicity Of his PrActICE. For eXAMpLe, hIs 2009 Exhibition AT chaRlie JAmEs GaLlery drEw on Los Angeles-baseD ProFessional actoRs, vOice TALeNts, ANd FIlm StUDioS TO produce his videO "Powhida (TrAiLEr)". other works HAve InVestigaTed mediA portRAyals of Place when Setting hiS wOrks IN new york, SeattlE and AspeN, Colorado.

dAmien cAvE of thE NeW York TImEs, wHo has Called pOwhIda thE "gadflY oF the arT estaBlIshment," hAs pointed out that the artiSt's own RisinG faMe presentS a pROblEm for an
 miniature representations  of Damien  Hirs t a ndJe ff K oons .

New York Ma g azin e art critic Jerry Sal tz de sc r ibed th e dra wing as "a g rea tbi g a rt wo rld s tin k bomb"  and a muc h n ee ded institut i on al critiqu e.He suggested  th at a m us eum commi ssi on Po whidat o prod uce a one -y e ar-lon g  projec t th at w ould result in af if t een feet high,  twent yf ee t wid e d rawing ofth e art world a s  i t i s t o day.

"#class "

#class w a s a  month -l ong series  of e ve n tsat Winklema n Ga llery inNew Yo r k thatt ook pla ce bet wee n F ebru a ry  2 0 t oM arc h  2 0,2 010  organiz ed  b y Pow hida a n d  art ist  Jen nifer  Dalton. #cla ssinvi t edguest  arti sts,  c ritic s, aca demic s,  dealers, colle ctor s and any one  e lse  w ho wo u ld lik e t o p articip ate toe xam in e t he  way art is made a nd s ee n in our  cultu r ean d  to iden ti fyandp r opose  alt e rn atives a nd/orr ef or ms to t he  curre nt  ma rke t sys t em.
Powhi da has l ong c o llaborated wit h  artist Jenni f er D al t on,who  worked wit h hi m  toprod u ce  ar t  worl d con do l en c e cards for Art Bas el  in 20 08 an d co-directed  a hypothe t i c al, post -apo c al y ptic art galle ry fo r Powhida' s  exhibit ion T he Writi ng Is ont h e Wall.
Cr iti cal  re c e pt ion
In his re v i ew o fPowhida 's2009 ex hib iti onThe  W riting Is  on theWa ll ,Ho lla nd Co t ter of t he  Ne wYor k Tim e s call ed Po whid aan "ar t world vi g i lant e,  v irtu oso  d rafts man, com pulsive  calligra phe r  and  f an tasistautobiographe r. " Art crit ic  Je rry Sa l t z called  Powhida the second bes t  thingtohappe n in  2009 inhis  asses sme n t of a rt inNew Y or k t h a t yea r ,  p rai si ng his dra w i ngfor t he  Bro oklyn R ail as well as his spr ing exhibitio n a t Sc h r oe der Ro m ero .Cri t i cs have drawn c omparisons  b e tw een his ar t  wo rl d diatr ibes an d tho s e of 18 th and 19 th centur ysoci a l  cr itics andsatirist s William Hogar t h,  Hono réDaumie r,  He nri M eyer a n d P aul I ribe.Cr iticshaveal so point ed out the site-specifi city o f his  pr actice. F ore xam ple, his2009  exhibitio n a t C harli e J a mes G alle r ydre w  on L os A n geles-bas e dpro f e ss ional actor s , voi ce ta len t s, and  fil m studios to prod u ce his video " Powh i d a ( Tra i ler) ".  Other works h ave  i n v estigate dmedia portr ayals of  p l ace w hen se ttinghis wor k s  i n  New Y ork,  Se attle and  As pe n , Color ad o. 
Damie n Ca ve  of th e NewY orkT i mes, who has cal led P o w hidat he"gadf ly  of the artestablishm ent," has p ointed  out  that  the ar ti st's o wnri sing famep resents a  prob lem for  a n
 miniature_representations of_Damien Hirst and Jeff_Koons.

New York_Magazine_art critic_Jerry_Saltz described the_drawing as "a_great big art world_stink bomb" and_a_much needed institutional critique. He suggested that a museum commission Powhida to produce a_one-year-long_project that_would_result_in a fifteen feet high,_twenty feet wide drawing of_the art_world as it is today.

"#class"

#class was a month-long_series_of events at_Winkleman Gallery in New York that took place between_February 20 to March 20, 2010_organized by Powhida_and_artist_Jennifer Dalton. #class invited_guest artists, critics, academics, dealers, collectors_and anyone else who would like_to participate to examine the way art_is made and seen in our_culture and to identify and_propose alternatives_and/or reforms to the current_market system.

Powhida has_long collaborated_with artist Jennifer_Dalton, who worked with him to_produce art world_condolence cards for Art Basel in_2008_and co-directed a_hypothetical,_post-apocalyptic_art gallery_for Powhida's exhibition_The_Writing Is_on_the Wall.

Critical reception
In his review of_Powhida's_2009 exhibition The Writing Is on the_Wall, Holland Cotter of_the_New York Times called_Powhida an "art world vigilante,_virtuoso draftsman, compulsive calligrapher and fantasist_autobiographer." Art_critic Jerry_Saltz called Powhida the second best thing to happen in 2009_in his assessment of art in_New York that year,_praising his_drawing_for the Brooklyn_Rail_as well_as his spring exhibition at Schroeder Romero.

Critics_have drawn_comparisons between his art world diatribes_and those of 18th_and_19th century social critics and satirists_William Hogarth, Honoré Daumier, Henri Meyer_and Paul Iribe. Critics have_also_pointed_out the site-specificity of his_practice. For example, his 2009 exhibition_at Charlie James_Gallery drew on Los Angeles-based professional actors,_voice_talents, and film studios to produce_his_video "Powhida (Trailer)". Other works have_investigated_media_portrayals of place when setting_his works in New York, Seattle_and Aspen, Colorado.

Damien Cave of the New York Times,_who has called_Powhida the "gadfly of the_art_establishment,"_has pointed out that the artist's own rising fame presents_a problem_for an