I'm about to put out a deeper dive. Didn't get much sleep (when my brain starts to whirrr.... 😅) so spent a ton of time listening to old spaces and connecting dots. Super interesting and really invigorating 💪🏾
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Added Aug 31, 2025, 5:38 AM
✅
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Added Sep 14, 2025, 9:28 AM
Follow up post
SonOfLasG (@Sonoflasg): 𝑰𝒓𝒊𝒅𝒊𝒖𝒎 𝑷𝒊𝒍𝒍𝒆𝒅: 𝑵𝒐𝒕𝒆𝒔 𝒐𝒏 𝒕𝒉𝒆 𝑨𝒗𝒂𝒏𝒕 𝑮𝒂𝒚
Back in the day I collected heavily on http://exchange.art. Raw curiosity pulling me in, a desire to get my hands dirty, and a love for a scene that felt more accessible than the EFAN (Ethereum Fine Art
Explainer on the term "Avant Gay"
SonOfLasG (@Sonoflasg): 𝑶𝒏 𝒕𝒉𝒆 𝑻𝒆𝒓𝒎 “𝑨𝒗𝒂𝒏𝒕/𝑮𝒂𝒚”
The name itself seems to have emerged half jokingly.
“𝑐𝑎𝑙𝑙𝑖𝑛𝑔 𝑡ℎ𝑖𝑛𝑔𝑠 ‘𝑎𝑣𝑎𝑛𝑡’ ℎ𝑎𝑠 𝑎𝑙𝑤𝑎𝑦𝑠 𝑏𝑒𝑒𝑛 𝑝𝑟𝑒𝑡𝑡𝑦 𝑔𝑎𝑦 𝑛𝑔𝑙” “𝑊𝑒𝑙𝑙 𝑤𝑒 𝑐𝑎𝑛’𝑡 𝑐𝑎𝑙𝑙 𝑖𝑡 𝐺𝑎𝑦 𝑁𝐹𝑇” “𝑊𝑒 𝑐𝑜𝑢𝑙𝑑...”
Meme
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Added Sep 18, 2025, 1:14 PM
𝑰𝒓𝒊𝒅𝒊𝒖𝒎 𝑷𝒊𝒍𝒍𝒆𝒅: 𝑵𝒐𝒕𝒆𝒔 𝒐𝒏 𝒕𝒉𝒆 𝑨𝒗𝒂𝒏𝒕 𝑮𝒂𝒚
Back in the day I collected heavily on http://exchange.art. Raw curiosity pulling me in, a desire to get my hands dirty, and a love for a scene that felt more accessible than the EFAN (Ethereum Fine Art Network). I’ve long admired artists like @notjohnlestudio and @solanapoet, who gave Solana’s early art culture its pulse.
But recently I tumble into something stranger... less polished, harder to name. The door was a @verse_works interview with @CreamyDreamy, where Parker Ito spoke about what some now call Avant Gay NFTs. That conversation cracked something open. Consider me iridium pilled 🙌🏾
𝑭𝒓𝒐𝒎 𝑴𝒊𝒍𝒂𝒅𝒚 𝒕𝒐 𝑭𝒐𝒓𝒌𝒔
The genealogy begins, in part, with Milady. For many, Milady was the first shock to Ethereum’s system. Lo-fi, ironic, drenched in chan culture, hostile to legibility... To some, liberating. To others, alienating.
This energy didn’t stay contained. It forked, mutated, and spawned adjacent cultures. Lasogette carried the DNA but re-skinned and birthing Bitcoin Puppets. And then projects like @ArtDeCC0s jumped tracks entirely... less a fork, more an adjacent experiment in maximalist collage and chaotic play, closer to @CreamyDreamy’s trait maxxed aesthetics than Milady’s emo faces.
𝑻𝒉𝒆 𝑨𝒗𝒂𝒏𝒕 𝑮𝒂𝒚 𝑴𝒐𝒅𝒆
@CreamyDreamy describes this scene not as a demographic claim but as a posture: camp, chaotic, excessive, queer in spirit whether or not in sexuality. It rejects polish, embraces overload, and refuses to be comfortably slotted into “fine art NFTs” or speculative meme culture.
Where EFAN often sought recognition by echoing the contemporary art world, the Avant Gay wing says: let’s build worlds that don’t make sense to them at all. It’s subcultural, unserious on the surface, but deadly serious in its refusal to conform.
https://x.com/Sonoflasg/status/1961546836088688841…
𝑾𝒉𝒚 𝑺𝒐𝒍𝒂𝒏𝒂?
This energy has migrated to Solana, and yes, the lower cost and speed play a role. But it’s also about resistance. Pushing back against the speculation-driven cycles and the non-conformist conformism of the EFAN. On Solana, artists like @CreamyDreamy have released chaotic projects such as Drilady and Horses?2. Works that feel allergic to polish and allergic to easy categorisation.
At the same time, Solana has been reshaped by its own power dynamics: the takeover of http://exchange.art by @JTLissPhotoArt, backed by @bonk_inu... the emergence of @vvvdotso and the infusion of energy that followed, has created a new gravitational centre. Around it, a scene of artists and collectors has coalesced. Not chasing institutional legitimacy, but cultivating an ecosystem where misfits, builders, and degens share the same ground. That’s part of what makes this moment feel coherent: less about any single collection, more about a culture emerging where weird tools, irreverent aesthetics and subcultural energy collide.
𝑾𝒉𝒆𝒓𝒆 𝑰𝒕’𝒔 𝑮𝒐𝒊𝒏𝒈
This isn’t yet a “movement” with boundaries. It’s still nascent, raw, alive. But the outlines are there:
A fork away from Milady’s closed circle toward something messier, queerer, less predictable.
A willingness to appropriate tools meant for clean outputs (like HashLips) and break them into chaos.
A refusal of polish in favour of excess, collage, and irony.
𝑪𝒍𝒐𝒔𝒊𝒏𝒈
Whether this stays a subcultural cul-de-sac or becomes a broader avant-garde, it’s already shifted my frame of reference. For now, I’m just here exploring, listening, collecting in small ways. Iridium-pilled and curious where this fork leads.
Sonoflasg (@Sonoflasg):
🎨 𝑨𝒓𝒏𝒖𝒍𝒇 𝑹𝒂𝒊𝒏𝒆𝒓 & 𝑨𝒓𝒏𝒖𝒍𝒇 𝑹𝒂𝒊𝒏𝒆𝒓 2
👉🏾 Inspired by the Austrian painter known for Übermalungen (“overpaintings”) where he smeared, scratched, and destroyed images with layers of paint. 👉🏾 Rainer’s work often dealt with despair, death and postwar trauma. 👉🏾 In MiFella, the overlay drags that same energy onto the PFP canvas: a face corrupted by violent brushstrokes, pixelated anguish.
This is one of the purest bridges between MiFella and European art history. A reminder that NFTs can cite, distort and re enact the canon in their own schizocoded way.
🩸 𝑮𝒖𝒏𝒕𝒉𝒆𝒓 𝑩𝒓𝒖𝒔 & 𝑮𝒖𝒏𝒕𝒉𝒆𝒓 𝑩𝒓𝒖𝒔 𝑼𝒏𝒕𝒊𝒕𝒍𝒆𝒅
👉🏾 Günter Brus was part of the Viennese Actionists, notorious for ritualistic self-mutilation and transgressive performance art. 👉🏾 His works blurred the line between martyrdom and spectacle, painting with his own body as the medium. 👉🏾 The overlay translates Brus’ splattered chaos into pixels, turning MiFella into a wounded saint.
A scream buried in a JPEG.
📀 𝑷𝒐𝒔𝒕𝒅𝒆𝒎𝒐𝒏
👉🏾 Derived from Pulse Demon, a 1996 album by Japanese noise musician Merzbow. 👉🏾 The original cover art is a field of warped, hypnotic lines... a visual representation of noise. 👉🏾 In MiFella, that optical distortion is placed directly over the entire frame, dissolving identity into vibration. 👉🏾 One of several traits that went on to feature in other landmark collections (eg Drifella).
MiFella becomes pure sound-as-image... a noisy, unreadable mask that mirrors the aesthetics of schizoposting itself.
🖌️ 𝑴𝒂𝒓𝒕𝒊𝒏 𝑩𝒂𝒓𝒓𝒆́
👉🏾 French painter, associated with postwar abstraction and conceptual minimalism. 👉🏾 Known for using spray paint and stencils in ways that stripped gesture down to its most skeletal form. 👉🏾 His work often carried a sense of refusal. Cutting away, erasing, or minimising the painter’s presence while still leaving aggressive traces of it.
In MiFella, the Barré overlay channels this raw, performative mark-making. Emphasising the refusal to stay neat or representational.
Seen in this light, Barré’s inclusion connects MiFella to a lineage of artists who embraced anti-aesthetic vandalism as art. A reminder that “ugliness,” aggression, incompleteness can be more honest than polish.
📖 𝑩𝒂𝒓𝒕𝒍𝒆𝒃𝒚
👉🏾 Named after Herman Melville’s character in Bartleby, the Scrivener. 👉🏾 Bartleby’s refrain: “I would prefer not to.” A mantra of passive resistance, refusal and existential inertia. 👉🏾 The overlay directly references meme adaptations of Bartleby, fusing literature, workplace nihilism and internet shitposting.
In MiFella, Bartleby is a mirror of the holder: inert, resistant, refusing to play the expected role.
📜 𝑮𝒖𝒕𝒂𝒊 𝑺𝒂𝒃𝒖𝒓𝒐 𝑴𝒖𝒓𝒂𝒌𝒂𝒎𝒊
👉🏾 Refers to Saburo Murakami, member of the Japanese Gutai group. 👉🏾 Famous for his kami-yaburi performances, in which he leapt through paper screens. 👉🏾 The overlay mirrors this, showing a MiFella peering through a paper-like texture... a literal break-through gesture.
In context, it’s a symbolic tearing through old forms, a proto-traitmaxx act.
📜 𝑮𝒖𝒕𝒂𝒊 𝑨𝒕𝒔𝒖𝒌𝒐 𝑻𝒂𝒏𝒂𝒌𝒂
👉🏾 This trait points to Atsuko Tanaka, another Gutai member, known for the Electric Dress (1956). A wearable sculpture of glowing bulbs. 👉🏾 Though not directly visualised in the trait, the name pulls in her avant-garde spirit: experimental, performative, bodily.
By citing Gutai, MiFella links itself to postwar Japanese avant-garde, where destruction and play intertwined.
💬 𝑯𝒆𝒍𝒍𝒐 𝑯𝒂𝒕𝒆𝒓
👉🏾 A direct nod to internet culture and meme aggression. 👉🏾 Unlike the other overlays (which pull from art or history), this one channels the raw tone of early Web 2.0 flame wars and 4chan-era posting. 👉🏾A reminder that beneath the references, MiFella is still terminally online. Built from hateposts, spam, irony. Seeds of the avant gay.
🧩 𝑪𝒍𝒐𝒔𝒊𝒏𝒈
Overlays made MiFella more than a collectible. They turned each JPEG into a collage of despair, history and rebellion. Every overlay is a reminder that MiFella did more than just exist... it absorbed. It borrowed, screamed, layered and broke.
And in doing so, overlays became a cultural code. They showed that PFPs could function like citations, like references in a manifesto. Like art.
That’s why I’d argue: overlays, moreso maybe than other traits, are the DNA of MiFella... and the proto-seed of traitmaxxing across Solana's avant gay.
And this isn’t just about the “art-historical” overlays. Even the rawer ones (Splatterthat, Burn, Nine Eleven and others) carried that same energy. No long explanations needed for these simpler overlays to matter. Their power was in sheer aggression. In reminding us that MiFella was aiming for rupture, not beauty.
h/t @MifellaM, @MMifella, @fella_coin, @bis__cut, @SAlgotrader, @snoillirdauq
All of them have scattered breadcrumbs and trait highlights across the timeline. Their posts shaped this consolidation into a single thread. If you want to dig deeper, their accounts are full of half-buried lore still waiting to be unearthed.
Check out my earlier explorations into the avant gay 👇🏾
https://x.com/Sonoflasg/status/1961558716987355390…
https://x.com/Sonoflasg/status/1965707905807835307…
Some other threads by friends here 👇🏾
https://x.com/briandroitcour/status/1932829548720369949…
https://x.com/archivepilled/status/1959331902269395364…
https://x.com/monkantony_tez/status/1964282814884425758…
matto (@matto__matto): To the new folks discovering the avant (gay) NFT scene on Solana, welcome.
Some ETH collector friends have been asking me about it, so here’s a short primer 🧵
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Added Sep 26, 2025, 4:19 PM
👕 𝑴𝒊𝑭𝒆𝒍𝒍𝒂 𝑺𝒉𝒊𝒓𝒕𝒔: 𝑨 𝑺𝒖𝒃𝒄𝒖𝒍𝒕𝒖𝒓𝒂𝒍 𝑨𝒓𝒄𝒉𝒊𝒗𝒆
MiFella’s shirts show how 20th and 21st century subcultures (from Futurist noise to geopolitical memes) are recycled, weaponised and worn as signs of identity in the age of PFPs
Each shirt trait tells its own story. Some are direct pulls from music or fashion. Others are deep cuts from noise, anime, or meme culture. Together they form an archive of references that anchor MiFella in a broader cultural web.
Let's break down a few... tracing their origins, why they matter and how they shape the MiFella ethos, setting the stage for the Avant Gay... 🧵
Let's begin with the lineage of noise and experimental music. A thread that runs deep through the collection.
🔴 𝑴𝒆𝒓𝒛𝒃𝒐𝒘
👉🏾 Merzbow is the alias of Masami Akita, who chose the name in reference to Kurt Schwitters’ Merzbau (Schwitters’ architectural collages built from found materials. Image 2). The link is symbolic: Akita channels a similar ethos of transforming detritus into art, but in the sonic domain. 👉🏾 Masami Akita’s project drew from an eclectic range of influences. Progressive rock, heavy metal, free jazz, early electronics, but also Dadaism, Surrealism and fetish culture. That same unruly mix of high and low, avant-garde and subcultural, runs through MiFella. 👉🏾 His methods were pure overload: distortion, feedback, junk metal, home-made instruments, collapsing structure under sheer volume. The DNA of traitmaxxing lies here. Excess as principle, noise as revelation.
One of my favourite traits is the Merzbow Overlay 🤌🏾 Read about it here 👇🏾 https://x.com/Sonoflasg/status/1968544029601415227…
📯 𝑳𝒖𝒊𝒈𝒊 𝑹𝒖𝒔𝒔𝒐𝒍𝒐
👉🏾 Luigi Russolo (1885–1947) was an Italian Futurist who wrote The Art of Noises (1913), a manifesto declaring that the limited circle of pure sounds must be broken open by the roar of modern life. 👉🏾 He built the Intonarumori, experimental noise machines designed to mimic the crashes, scrapes and hisses of the industrial city. 👉🏾 For Russolo, noise was not a defect but the future of art. A way to mirror the speed, conflict and intensity of modern existence. 👉🏾 In MiFella, the Luigi Russolo shirt trait encodes this origin story: the leap from harmony to fracture, from melody to machinery. A reminder that the collection doesn’t just cite noise... It wears the moment noise first became art.
⚙️ 𝑲2 𝑪𝒖𝒔𝒕𝒐𝒎
👉🏾 References Metal Language (1998), a limited cassette by Japanese noise artist K2 (Kimihide Kusafuka), recorded live at Oncosonik Laboratory. 👉🏾 K2’s work is defined by scrap metal and found-object sound: crashing, scraping, unpredictable textures stitched with electronics. His practice turns industrial debris into a vocabulary of harsh noise. 👉🏾 The cassette itself was a hand-numbered edition, underscoring scarcity and the collector’s aura... qualities mirrored in MiFella’s trait economy. 👉🏾 In MiFella, the K2 shirt translates this ethos: noise as metal, structure as wreckage, rebirth from industrial ruins. A custom signal that even the rawest fragments can be pressed into new codes.
🌀 𝑫𝒆𝒂𝒕𝒉 𝑺𝒑𝒊𝒓𝒂𝒍
👉🏾 Refers to Hanatarash, the notorious Japanese noise project founded by Yamantaka Eye (later of Boredoms) in 1983. 👉🏾 The name means “snot-nosed”... a clue to its reckless, chaotic spirit. In live shows, Hanatarash became infamous for using drills, bulldozers and heavy machinery as instruments. Many times causing real physical danger. 👉🏾 Their 1988 album Hanatarash 2 is often remembered for its dizzying, abrasive sound and hypnotic concentric cover design (visualised here on the shirt as a spiralling neon target). 👉🏾 In MiFella, the Death Spiral shirt captures this ethos of extremity: danger as performance, collapse as spectacle. It channels the anarchic energy of a band that turned destruction itself into art.
🟥 𝑺𝒕𝒂𝒍𝒊𝒏𝒈𝒓𝒂𝒅
👉🏾 References Stalingrad, a hardcore punk band from Bradford, UK, whose 1997 demo used a photograph from Susan Lipper’s Grapevine series. 👉🏾 Lipper’s work straddled documentary and fiction: staging ambiguous, often unsettling images in rural Appalachia that force viewers to question stereotypes and their own preconceptions. 👉🏾 The chosen photo (a deer strung on a basketball hoop) collapses sport, violence and absurdity into a single surreal tableau. 👉🏾 In MiFella, the Stalingrad shirt imports this double lineage: the raw, abrasive energy of UK punk and Lipper’s eerie Appalachian collaborations. Together they point to MiFella’s core method... recontextualising fragments of subculture and trauma into myth.
Some traits nod to Anime and Anime culture...
🖤 𝑺𝒆𝒄𝒓𝒆𝒕 𝑬𝒙𝒑𝒆𝒓𝒊𝒎𝒆𝒏𝒕𝒔 𝑳𝒂𝒊𝒏 (𝑩𝒍𝒂𝒄𝒌) 𝑺𝒉𝒊𝒓𝒕
👉🏾 References Serial Experiments Lain (1998), the cult anime series that explored consciousness, technology, and identity in the early days of the wired internet. 👉🏾 The show follows Lain Iwakura, a schoolgirl drawn deeper into “The Wired”. A networked reality where the boundaries between self and system dissolve. 👉🏾 With its fragmented narrative and eerie cyber-aesthetics, Lain probed questions of simulation, isolation and what it means to exist inside information systems. 👉🏾 In MiFella, the Lain shirt acts as an eery reminder that identity here is always wired, always unstable. A place where self, image and network bleed together.
Many MiFella traits read as a nod to art history’s most charged, controversial gestures. Moments when artists tested the limits and rewrote the terms of what art could be.
🔵 𝑽𝒊𝒕𝒐 𝑨𝒄𝒄𝒐𝒏𝒄𝒊 𝑺𝒆𝒆𝒅𝒃𝒆𝒅
👉🏾 References Vito Acconci’s performance Seedbed (1972), one of the most provocative pieces of early body and conceptual art. For three weeks at the Sonnabend Gallery in New York, Acconci lay hidden beneath a wooden ramp in the gallery floor, masturbating while speaking his fantasies about the visitors who walked above him. His murmured monologue was broadcast into the space through speakers. 👉🏾 Seedbed broke the boundary between private desire and public performance. It turned the viewer into an unwitting participant. Acconci used his own body as both medium and transmitter, collapsing distance between art, artist and audience. 👉🏾 The trait signals a key thread in MiFella’s cultural DNA: fascination with transgressive acts that expose hidden currents... whether noise in music, propaganda in politics, or desire in the gallery. It’s a reminder that the project often draws on art-historical precedents for testing the limits of spectatorship, authorship and exposure.
From avant-garde ruptures in art history, MiFella pivots to the equally unstable theatre of geopolitical irony, where propaganda, parody and meme culture collide.
𝑴𝒖𝒋𝒂𝒉𝒊𝒅𝒆𝒆𝒏 𝑫𝒆𝒅𝒊𝒄𝒂𝒕𝒊𝒐𝒏 𝑻
👉🏾 References the infamous closing credit of Rambo III (1988), which dedicated the film to the “brave Mujahideen fighters of Afghanistan.” 👉🏾 Once a straightforward Cold War gesture, it later became an emblem of geopolitical irony: today read as naïve, misplaced, even tragic. 👉🏾 In MiFella, the shirt weaponises that historical meme, collapsing cinema, propaganda and hindsight into a single line of text. 👉🏾 It’s less about heroism than about how meaning mutates: yesterday’s freedom fighters, today’s enemies.
This shirt is an example of history fed back through the cultural shredder... propaganda turned parody, sincerity recycled into meme. It shows how MiFella doesn’t just borrow images but exposes the instability of their meaning. In the next section, I’ll expand this into a broader theme of geopolitical irony that runs through the collection.
𝑮𝒆𝒐𝒑𝒐𝒍𝒊𝒕𝒊𝒄𝒂𝒍 𝑰𝒓𝒐𝒏𝒚
Already introduced in the previous section, The Mujahideen Dedication T serves as an entry point to a larger pattern. Its irony isn’t isolated. It’s part of a cluster where MiFella repeatedly returns to Mujahideen and al-Qaeda imagery. Taken together, these traits map out a broader theme of geopolitical irony, where propaganda, parody and meme culture converge:
👉🏾 𝑴𝒖𝒋𝒂 Directly references Mujahideen fighters. Militant garb and ammo belts. Once celebrated as icons of resistance, here they’re rendered as pixel iconography, stripped of ideology and worn as myth.
👉🏾 𝑺𝒐𝒖𝒕𝒉 𝑷𝒂𝒓𝒌 𝑩𝒊𝒏 𝑳𝒂𝒅𝒆𝒏 & 𝑺𝒐𝒖𝒕𝒉 𝑷𝒂𝒓𝒌 𝑨𝒍 𝑸𝒖𝒂𝒆𝒅 Draws on South Park’s Osama bin Laden Has Farty Pants (2001), where terror was processed through slapstick parody.
👉🏾 𝑨𝒍𝒂𝒅𝒅𝒊𝒅𝒂𝒔 𝑺𝒉𝒊𝒓𝒕 The infamous meme-mashup: Adidas three stripes retooled as the Twin Towers, branded “alqaida.” A pure artefact of early internet dark humour, collapsing corporate branding and global trauma into a forbidden logo.
Together, this cluster of traits form a mini-archive inside MiFella. They trace the arc of how jihadist imagery has circulated through Western culture: →From heroic freedom fighters (Rambo) →To geopolitical villains (Bin Laden, al-Qaeda) →To internet parody and meme detournement (South Park, Aladdidas).
This is MiFella at its sharpest: showing how images migrate, meanings flip, history itself becomes schizocode. The collection leans hard into Mujahideen and al-Qaeda references, IMHO, because they are one of the clearest examples of how culture metabolises even terror and tragedy into repeatable, remixable signs.
What results is not a history lesson but a mirror of cultural absurdity: geopolitics as meme, propaganda as parody, terror as JPEG.
🟤 𝑪𝒐𝒏𝒄𝒍𝒖𝒔𝒊𝒐𝒏
The shirts I’ve highlighted, from Merzbow and Luigi Russolo to Stalingrad, Hanatarash, Lain and the Mujahideen cluster, are only a slice of what MiFella offers. There are many more traits still to be unpacked, each with their own rabbit holes of noise, subculture, parody and politics.
What binds them isn’t just reference-spotting, but the way they cut across time and meaning. MiFella thrives on instability: noise as art, propaganda as parody, trauma as meme. It doesn’t just archive culture; it scrambles and replays it until new signals emerge. The blueprint for the Avant Gay.
@MifellaM has done a great job sharing insights into lots of other traits. Check out some other shirt traits here:
Another Whitehouse one because yes https://x.com/MifellaM/status/1714185727821635860…
Piece now https://x.com/MifellaM/status/1723480221817655316…
Burzum https://x.com/MifellaM/status/1717811116431266027…
Prurient https://x.com/MifellaM/status/1720564760926732429…
Aube (by @MMifella) https://x.com/MMifella/status/1610310959775498240…
Check out my exploration of the OVERLAY TRAITS here 👇🏾 https://x.com/Sonoflasg/status/1968544016414458109…
Primer & All Roads Lead to MiFella 👇🏾 https://x.com/Sonoflasg/status/1967509090550394906…
https://x.com/Sonoflasg/status/1967544685393842465…
And my earlier explorations into the avant gay 👇🏾 https://x.com/Sonoflasg/status/1961558716987355390…
Unpacking the term "Avant Gay"👇🏾 https://x.com/Sonoflasg/status/1961546836088688841…
SonOfLasG (@Sonoflasg): 𝑰𝒓𝒊𝒅𝒊𝒖𝒎 𝑷𝒊𝒍𝒍𝒆𝒅: 𝑵𝒐𝒕𝒆𝒔 𝒐𝒏 𝒕𝒉𝒆 𝑨𝒗𝒂𝒏𝒕 𝑮𝒂𝒚
Back in the day I collected heavily on http://exchange.art. Raw curiosity pulling me in, a desire to get my hands dirty, and a love for a scene that felt more accessible than the EFAN (Ethereum Fine Art
