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A Bushwick gallery misspelled ‘Old School’ in neon on purpose, and the typo is a full argument about capitalism

Synesthesia gallery in Bushwick hosts Anne Katrine Senstad’s neon exhibition VEIEJA ESCUELERA, using deliberate misspellings to critique capitalism and its hidden structures in a technocratic world.

Bright green neon sign reading 'MAL EDUCACIÓN' mounted on a dark green wall, part of an art installation.

A Bushwick gallery misspelled ‘Old School’ in neon on purpose, and the typo is a full argument about capitalism

Synesthesia gallery in Bushwick hosts Anne Katrine Senstad’s neon exhibition VEIEJA ESCUELERA, using deliberate misspellings to critique capitalism and its hidden structures in a technocratic world.

A Bushwick gallery misspelled ‘Old School’ in neon on purpose, and the typo is a full argument about capitalism
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A neon sign in a Bushwick gallery misspells “Old School” on purpose, and that typo is the whole argument. It’s called VEIEJA ESCUELERA, a solo show by Norwegian artist Anne Katrine Senstad now up at Synesthesia, the art gallery at 43 Porter Avenue. According to the gallery’s announcement, the exhibition runs through August 2, 2026, and it opened on the Fourth of July, timed to the Semiquincentennial, the 250th anniversary of American independence.

The show is built from glowing neon sculpture and text based works, and the deliberate misspelling in the title is doing the heavy lifting. Per Synesthesia, garbling “Old School” is meant to spin off new meanings depending on the viewer’s own language and culture, while pointing back to older ways of handling business or seeking justice that Senstad argues have been normalized, concealed, and folded into everyday life in what her statement calls a technocratic, post-human, multi-plutocratic world.

That’s the register of the whole thing. The exhibition is a new chapter of Senstad’s ongoing project Capitalism in the Public Realm, which she started in 2014, and the gallery frames it with a line from Walter Benjamin’s 1921 writing: “Capitalism is a religion that recognizes neither truce nor redemption.” The curator is Clayton Harley.

The project leans on Joseph Beuys’s work The Capital Space, made for the German Pavilion at the 1980 Venice Biennale, where Beuys proposed a new definition of capital untethered from…

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Filed underAnne Katrine Senstad / Capitalism in the Public Realm / Neon Art

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