Mount Airy Contemporary

25 West Mt. Airy Avenue, Philadelphia PA 19119
(267) 270-2787


The Suburban

October 3-31
– Opening Reception October 3 from 6-9 PM
Mount Airy Contemporary is pleased to host The Suburban in conjunction with Alternative Currencies, a Philadelphia-based project that gathers independent contemporary arts groups from around the country to share their innovative modes of working.
Details to follow.


Speed, Still, Sway

Mark Price, Joe Manuse and Justin Bursk

at Mount Airy Contemporary

May 16 – July 11th
Opening Reception May 16, 6-9 PM
Gallery Hours: By Appointment

Mount Airy Contemporary
25 West Mt. Airy Avenue
Philadelphia PA 19119
(267) 270-2787

MAC is pleased to present an exhibition of works by Mark Price, Joe Manuse and Justin Bursk.

Mark Price Distinct Zones IV

Distinct Zones IV
Mark Price

Mark Price’s collages are a jittery visual experience, a kind of rapid jump cut evocative of the pixelated breakdown of video imagery.  He samples graphic design components into compositions whose language is a kind of latter day Futurism – the additive language of splicing and speed.


Stalling on Drops Joe Manuse

Stalling on Drops
Joe Manuse

Joe Manuse anchors his paintings in a simple, raw gesturalism.  The moments of painting and looking slow – opening up space for mediative, mystical reflection.  Manuse’s paintings suspend the viewer in time and lets us linger there.


Boats Are Not Meant for Harbor Justin Bursk

Boats Are Not Meant for Harbor
Justin Bursk

Justin Bursk’s works are blatantly, playfully homemade.  His work is the work of a tinkerer, exploring through doing.  Where Price is rapid-fire crisp, and Manuse slow and poetic, Bursk is improvisatory, a series of “what-if” scenarios played out on his visual stage.

We’re pleased to bring the works of all three of these artists together for this show.

William Test, Radical Guts


Josh Weiss and William Test

at Mount Airy Contemporary

October 11 – November 28th
Opening Reception October 11, 6-9 PM
Gallery Hours: Saturdays 1-4 PM (CLOSED SATURDAY OCTOBER 25)

Mount Airy Contemporary
25 West Mt. Airy Avenue
Philadelphia PA 19119
(267) 270-2787

MAC is pleased to present MIRACLE GROW, an exhibition of works by Josh Weiss and William Test.

Both artists construct imagery that traffics in narrative, landscape, abstraction, entropy, memory, creation and destruction. The works in this show share maximal, overloaded, fecund qualities that manifest in different ways. In Weiss’s paintings this expresses itself as a kind of conversation between abstraction and organic growth run amok. A more explicit myth making process occurs in Test’s work – a cluttered realm of adolescent and occult imaginings of power and magic.

Josh Weiss is a Philadelphia area based painter. A Yale graduate, he has exhibited in Philadelphia, Los Angeles and Beijing, and is a member of the gallery collective Grizzly Grizzly in Philadelphia.

Josh Weiss, Untitled, 31” x 31"

Josh Weiss, Untitled, 31” x 31″

Josh Weiss, Night Garden (Two), 48” x 48"

Josh Weiss, Night Garden (Two), 48” x 48″

William Test, Radical Guts

William Test, Radical Guts

William Test, Hey Hell

William Test, Hey Hell

is an Art Academy of Cincinnati graduate, and has exhibited in Chicago, Cincinnati and Indiana. Test lives and works in Hobart, Indiana. This is his first exhibition in Philadelphia.



Martha Lewis, Eva Mantell, Melissa Marks, Laura Watt

Mount Airy Contemporary
May 10 – June 14th 2014
Opening Reception May 10, 6 to 9 PM
Gallery open by appointment

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Bounded by a nutshell I could count myself king of infinite space, were it not for these bad dreams.” Hamlet

“Overflow” is a four-way conversation, on paper, about too much. Is it possible to measure abundance and generosity, to represent big thinking and a sincere committment to transformation? Can one really go somewhere, far away or way too close, with a piece of paper? What is the appeal of “infinite space”? Is it a fantasy about freedom, the wide-open joy of boundless movement and unrestricted time, or, does the attraction live in the contradiction between space and attachment? Can it be that the most vivid definition of Abstraction is grounded in the ordinary, visceral experience of an object? “Overflow” expands and refracts a visual discussion about the violence, humor and perseverence that accompany resistance, the inevitability of boundaries and a handmade, idiosyncratic attack on meaninglessness.

The exhibition at Mt. Airy Contemporary represents the first physical iteration of the dialogue between Lewis, Mantell, Marks and Watt, through objects, across surfaces, engaging the tantalizing risk of overflow.

Martha Lewis is interested in the dimensional possibilities of paper. Her “ ‘Branes” present themselves not as sculpture, but as “thought models made solid, objects at once tactile and philosophical.” Lewis describes “the crumple” as the “visual residue of a climactic event.” Exhibitions include The Decordova Museum, MA, Modern Art Oxford, UK, and The Tricycle Gallery, London.

Eva Mantell’s series of rule-based projects track variations and test a tolerance for change in the context of the environment and evolution. The everyday materials she works with, such as paper coffee cups, are lavished with attention and become emblems of possibility. Exhibitions include Abington Art Center, PA, The Peekskill Project, NY, The Arts Council of Princeton, NJ, Cortijada Los Gazquez, Spain.

Melissa Marks describes “the drawn mark” as a “mutable abstraction, linear catalyst and fantasy instigator.” “Every drawing I make is a spastic diagram of a core-shaking internal disruption, an interior landscape made visible, a picture of a self in a constant state of remaking.” Solo exhibitions include Bloomberg Space, London, Nicole Klagsbrun Gallery, NY, Aldrich Museum of Contemporary Art, CT and Cortijada Los Gazquez, Spain. Her work has been included in exhibitions at PS1/Moma, NY, Artspace, CT and The Drawing Center, NY

Laura Watt’s drawings explore the topography of a surface. To be more specific, a piece of paper. “Points, vectors and radiating grid structures explore the possibly infinite space of a working surface/structure. Rather than reiterating the flatness of the paper surface, drawn webs create an undulating landscape. Multiple perspectives are explored, creating a sense of movement and rhythm.” Recent exhibitions include McKenzie Fine Art, NY, Leslie Heller Workshop, NY, St. Josephs University, PA, MACA, PA and Locks Gallery, PA.



At Marginal Utility

Curated by Mount Airy Contemporary
A CITYWIDE Exhibition

November 1– November 24th 2013
Opening Reception Friday November 1st, 6-10 PM

Marginal Utility
319 North 11th Street, Philadelphia PA

Mount Airy Contemporary is pleased to present North By Northwest, an exhibition hosted by Marginal Utility of nine artists from northwest Philadelphia.

Andrea Hornick
Odili Odita
Josh Weiss
Talia Greene
Andrea Wohl Keefe
Laura Watt
Brent Wahl
Abbey Ryan
Daniel Oliva

Since 2009, Mount Airy Contemporary’s programming has focused on providing low key, high quality art experiences to the local northwest Philadelphia community.  That experience has afforded us the opportunity to meet and work with artists who make their homes in the northwest.  In this exhibition we assemble a small selection of these artists whose works and practices we believe have common threads – focal points where conversation can be had.

Exhibition related events:

11/16 3 PM at Marginal Utility:

Andrea Hornick will present the epic narrative of her piece, Resilience. The altered reproductions of an Early Modern and two Baroque portraits of Jewish women sitters are relationally contextualized. Their shamanic transformations are woven into history to bring them into the present.

11/20 7 PM at Vox Populi:
Andrea Hornick will present the epic narrative of her piece, Resilience.  Participate in a Shamanic Drum Journey, with live drumming by the artist, to encounter your own power animal. 

North by Northwest is a project for CITYWIDE: A Collective Exhibition (, a recipient of a 2013 Knight Arts Challenge grant.


*PICTURE DAY in progress by Jaime Alvarez
*PICTURE DAY in progress by Jaime Alvarez

*PICTURE DAY in progress by Jaime Alvarez


Picture Day

A Portrait of the Philadelphia Art Scene

PRACTICE, at Mount Airy Contemporary for Citywide, entrusts a free photograph of the Philadelphia Art Scene to the people in it.

On Sunday, October 6th, over 200 artists and art workers converged on the front steps of the Philadelphia Museum of Art to create a picture of the Philadelphia art scene. This picture was facilitated by PRACTICE, and taken by the photographer Constance Mensh, with assistance and process photography taken by Jaime Alvarez. While PRACTICE allows that capturing the image of an art scene is an impossible task, that the date and time of the event could never accommodate everyone, and that a small artist-run democracy had no hope of getting the word out to an entire city, the resulting photograph is a slice of Philadelphia’s diverse and lively scene and a thing to be proud of. A thing to make you smile. Those artists and art workers who could attend were counted and make an impact. Together we make art happen.

Every artist in the portrait is invited to Mount Airy Contemporary on Saturday, November 2nd to receive a free print of Picture Day 2013. Members of the public who did not attend PICTURE DAY will be able to pick up a copy of the free print while supplies last. Artist attendees will also be asked to sign a giant copy of the photograph. Images of the process of making the picture will be on view and citywide specials will be on-hand for the celebration.
Please forward this invitation to all your friends who attended PICTURE DAY, as we are unsure that we were able to gather every participant’s e-mail address.
Please join PRACTICE at Mount Airy Contemporary
Opening Celebration: Saturday, November 2 6-9
On view from November 2nd-December 7th, 2013
With a trolley tour on November 16th from 2-5pm
For gallery hours and appointments contact Mount Airy Contemporary
Mount Airy Contemporary
25 West Mt. Airy Avenue
Philadelphia, PA 19119
PICTURE DAY: A Portrait of the Philadelphia Art Scene is a project for CITYWIDE: A Collective Exhibition (, a recipient of a 2013 Knight Arts Challenge grant.




Brad Litwin and Jonathan Eckel

At Mount Airy Contemporary

September 27th – October 20th 2013
Opening Reception Friday September 27th 6-9 PM

Mount Airy Contemporary
25 West Mt Airy Avenue, Philadelphia PA
(267) 270-2787
Gallery Hours by appointment
Also open during POST, October 19th and 20th, 12-6 PM.

Mount Airy Contemporary is pleased to present the works of Brad Litwin and Jonathan Eckel, both Germantown-based artists.

Brad Litwin, Quadrapult

Brad Litwin, Quadrapult, 2006

Drawing on his background as an engineer, musician, and artist, Brad Litwin constructs kinetic sculptures that integrate all three practices seamlessly. Rhythmic, syncopated machines crafted from wood, brass, copper, motors and electronics toss marbles in lazy arcs into waiting funnels, or play nonlinear melodies that vary based on the interaction of gear ratios.


Jonathan Eckel‘s paintings exhibit a cadence that stems from a very process-oriented approach. Where Litwin’s sense of rhythm is a product of meticulously selected initial conditions, Eckel’s patterning is rooted in an ongoing intuitive dialogue with the work in progress. Decisions are made mid-stream, based on what’s been already laid down. Eckel places a great deal of trust in a working method where the end result isn’t previously known to the maker. A painter’s painter and a colorist by nature, Eckel creates paintings that complement the mechanical constructions by Litwin.

Both artists infuse their work with a kinetic, dynamic tempo born of their working methods – very different processes – that, in this exhibition, converse in the language of music and motion.


John Darling-Wolf and Abigail Patterson

At MACAS (Mount Airy Contemporary Artists Space)

May 4th – June 8th 2013
Opening Reception Saturday May 4th 6-9 PM

John Darling-Wolf
Abigail Patterson

25 West Mt Airy Avenue, Philadelphia PA
(267) 270-2787
Gallery Hours by appointment

The works of John Darling-Wolf and Abigail Patterson represent an ongoing conversation between architecture and art.

John Darling-Wolf, a dual US/Canadian citizen of Ukrainian origin who currently resides in Mt. Airy, is an architect, sculptor and printmaker whose various practices are informed and inscribed upon each other. For this exhibition, Darling-Wolf includes a series of prints and sculptures where this inscription is literal – the plates used for the prints are then manipulated – bent, curled into “Tag Sculptures”. Darling-Wolf also presents related works specifically produced for this exhibition and dialogue with the works by Abigail Patterson.

Abigail Patterson is a painter, collagist and printmaker based in Wilmington, Delaware. The works Patterson includes in this exhibition are from three distinct series, but share aspects of process, perspective, and media. The materials include woodblock printing, graphite rubbings, collage, and drawing. Patterson’s works explore structure and form, alluding to the narrative properties of implied architectonic space. Patterson’s imagery of enclosures, dividers and containers retain a fundamental abstract quality and define volumes that feel at once sculptural and theatrical.

It is with great pleasure that MACAS presents this exhibition.


5/31/2013, Spacing Out – John Darling-Wolf and Abigail Patterson at Mount Airy Contemporary Artists Space, Sam Newhouse

5/10/2013, Latest Mt. Airy gallery exhibit explores a dialogue between art and architecture, Jana Shea

Joseph Burwell

Pattern Languages: Artists and Architectural Grammar

At MACAS (Mount Airy Contemporary Artists Space)

September 15th – October 20th
Opening Reception Saturday September 15th 6-9 PM
Gallery Hours by appointment:
(267) 270-2787

Robert Walden
Joseph Burwell
Leslie Mutchler
Amze Emmons
Ross Racine
Robert Hills

25 West Mt Airy Avenue, Philadelphia PA
(267) 270-2787

A Pattern Language is a seminal 1977 treatise on architecture and habitation that was influenced by the rise of programming languages, fractal logic (the idea that patterns persist across scales), and a sense that architecture – and art – are essentially human enterprises.  A Pattern Language has been recognized as influential in architecture and in software design – the phrase “design pattern” is a descendent of the core concepts the book outlines.

But there is also an artistic practice that is fundamentally interested in the idea that human habitation and human works are a touchstone – that built environments, the places we live, the things we make, say something about what it means to be people.

The artists in this exhibition share a common fascination in and celebration of the built grammar of our lives – the syntax of roadways, the haiku of space platforms, the syncopation of tent cities, the cursive recumbence of suburban tracts, and even the intricate plumbing of the isometric view.

There is a love for what people make, how they live, and how they move through the world that suffuses the work by these six artists.  MACAS is extremely pleased to have the opportunity to present this exhibit.



Linear Perspective

Laura Watt
Ellie Murphy
Björn Meyer-Ebrecht

April 14 – May 19th
Opening Reception April 14 6-9PM
Gallery open by appointment

This show began with an invitation to Laura Watt to both exhibit her work and to invite another artist of her choice with whom to show. Watt selected Ellie Murphy. Murphy received the same combined invitation, and she invited Björn Meyer-Ebrecht. The relationships between the works of the artists have a similar linear connection.

Laura Watt

Laura Watt’s paintings have long been an investigation of pattern, repetition, and overlapping structures. For Watt, pattern and repetition are a means of condensing information and experience, compressing language, narrative, and emotion. Laura notes:” We find so many patterns in the geographical world – and it is pattern that allows us to comprehend the landscape. We use a grid to map our physical world and we can also use the grid to imagine and create new spaces. So, rather than yoking the grid and pattern’s ability to condense – I am looking at how it can create space and speak concretely of the infinite.”

Ellie Murphy

Laura Watt’s and Ellie Murphy’s work share a similar interest in repetition, compression and expansion as Murphy’s work shifts from the representations within Watt’s paintings to the presentation of sculptural installations. Murphy braids the yarn, compressing together the colors and linear qualities and expands the braids and yarns as they occupy three-dimensional space. Murphy explains how her work relates both to the personal and cultural nostalgia, “I combine references to doll hair, crafts, folk motifs and Americana from my 1970’s childhood in Kansas with aspects of Modern, Conceptual, Multicultural and Feminist art. I see an interdependence between the multiplicity of cultures in our world and use the process of braiding as a way of playing with the unintended and humorous connections between them.”

Björn Meyer-Ebrecht

Ellie Murphy’s and Björn Meyer-Ebrecht’s work share a power to evoke nostalgia, Murphy with her braiding and Meyer-Ebrecht through his black and white photography representing historic images of West Germany. His work deals with abstraction as something that is both sculptural and painterly. Meyer-Ebrecht creates strong shapes of color within the photographic images that become a somewhat difficult-to-define power or authority. These shapes remind of remnants from a language from another time which we are only partially able to understand.

As each of the artists chose to show with one another, there are threads that connect the works and the viewer can experience some of this dialogue between the works. Formally the work moves from the Laura Watt’s paintings of repetition and patterns to Ellie Murphy’s installations of repeated braids and patterns of colored yarns. Björn Meyer-Ebrecht’s work bridges the media of painting and sculpture and connects to the abstraction of Murphy’s and Watt’s work while also launching into the representational world of the past.


human relationships in their natural habitat

A MACAS Collaboration with CFEVA

October 1 – November 19th 2011

Opening Reception Sunday October 2, 5-7 PM
Gallery Hours: Saturdays 1-4 PM

25 West Mt. Airy Avenue, Philadelphia PA 19119 (map)
(267) 270 2787

MACAS, in conjunction with The Center for Emerging Visual Artists (CFEVA), is pleased to announce an exhibition featuring the works of CFEVA Career Development Program Fellows Tim Portlock, Jennifer Williams, Kimberly Witham and Allison Kaufman.

All four artists share an interest in exploring aspects of the human condition, through habitats, personal relationships or histories.  The works in this exhibition all tweak the environments or relationship dynamics in ways that put the viewer on notice – something more is being said – using a visual vernacular that speaks to the staged theatricality of theater or architecture.

For Tim Portlock’s current digital print series, titled Ghost City, Portlock has been photographing abandoned buildings within a 20 block radius of his home.  Using digital animation/effects software, he uses this source material to construct virtual de-industrialized shells of cities – empty lots reverting to browned fields, a post-industrial pastoral landscape.

Tim Portlock, Ghost City #01, Tim Portlock, digital print, 72" x 60".


When viewing Kimberly Witham’s photographs, one is struck by the way several tableau genres are intermingled. There is the photographic convention of the domestic interior as shot for design magazines, which themselves are kissing cousins with the museum Period Room.  The carefully constructed domestic fantasy of the Period Room, in turn, conflated with the tableau of the Natural History Museum diorama, creates a world in which the artifice of relaxation and leisure – the promise of consumer culture – is contrasted by visions of animals in repose – or death – and a situation in which it’s difficult to tell which is which.

Kimberly Witham

“Trust Falls” is a silent, 5- channel installation of short, looping videos by Allison Kaufman in which she collaborates with divorced middle aged men, a recurring theme in her work. Kaufman and her subjects  engage in intimate caretaking activities typical of a father and daughter, or husband and wife in early or late life. These activities, which include shaving, braiding hair, and getting in and out of a hammock, require a sense of trust and at times, a negotiation or struggle. Without dialogue, the body language of collaboration and caretaking can be magnified and the poignancy in them revealed.

Allison Kaufman, Trust Falls, Multi Channel Video Installation, Silent, 2011

 Jennifer Williams  documents, deconstructs, and re-composes visual elements of cities, giving form to dissonance within the urban geography. The use of photography in her work is cumulative; she uses archival and current self-generated images to build large-scale collage-type forms.  Williams is fascinated with the organic and idiosyncratic architectural transformations evident on a macro and micro level within urban environments, specifically New York City. Identifying and commenting upon the metamorphosis of space/place due to the renewal/disinvestment of inner-city areas is a driving force behind her work.

Jennifer Williams



MACAS (Mount Airy Contemporary Artists Space) is a small artist-run exhibition space in the northwest of Philadelphia.  The space was founded in 2009 by co-directors Colin Keefe and Andrea Wohl Keefe, and has exhibited over forty artists from New York, Boston, Chicago, Houston, New Orleans and Philadelphia.  The gallery’s program is focused on connecting artists and artist communities in different geographic regions through these curatorial efforts.

About the CFEVA, the Career Development Program and the CDP Fellow Artists

Tim Portlock, Jennifer Williams, Allison Kaufman, and Kimberly Witham are currently a fellows in CFEVA’s Career Development Program. Artists are selected for the two-year Career Development Program Fellowship by CFEVA’s renowned Board of Artistic Advisors. While active in the program, the artists have opportunities to experience a full exhibition schedule, receive career counseling and mentorship, earn money from the sale of their work, teach in the community and participate in numerous professional development opportunities. The program serves artists who live within 100 miles of Philadelphia, are not full-time students, and do not have gallery representation. The annual application deadline for the program is November 1st. More information about the fellowship can be found at

The Center for Emerging Visual Artists (CFEVA) dedicates itself to making art careers viable for those who choose them, helping emerging artists reach their audiences, and promoting interest and understanding of emerging visual art among citizens of the community. The Center For Emerging Visual Artists, formerly Creative Artists Network, was founded in Philadelphia in 1983 to encourage the professional development and community involvement of emerging visual artists. CFEVA now serves artists through three complementary programs: Career Development, Regional Community Arts, and The Philadelphia Open Studio Tours.

About Philadelphia Open Studio Tours

Philadelphia Open Studio Tours is Philadelphia’s premier fall visual arts festival and a program of the Center for Emerging Visual Artists. Featuring over 350 local artists and engaging over 20,000 members of the community, it is the most comprehensive tour of artist studios in the region and the only event of its kind in the city. Each October, the Tours include self-guided tours of artist studios and creative workspaces, hands-on workshops, gallery and site-specific exhibitions, demonstrations, artist talks, and receptions. In 2011, the Open Studio Tours is proud to present Staged as a featured exhibition.

Studio Tours venues and events are divided East and West of Broad Street over the course of two weekends and run Saturday and Sunday from 12 – 6 pm. Staged will be open to the public as part of the Studio Tours West Weekend on October 1st and 2nd from 12 Noon – 6pm. The Philadelphia Open Studio Tours cumulatively provides an opportunity for the public to engage with Philadelphia’s entire arts community from a new perspective and based on individual’s own specific interests. No other program in or around Philadelphia consistently brings such an intimate and diverse cultural experience to the community free of charge and across such a large geographic area. For full festival information, visit


May 7 – June 4
Opening Reception Saturday, May 7th, 6-9 PM
Gallery Hours: Saturdays 1-4 PM

25 West Mt. Airy Avenue, Philadelphia PA 19119 (map)
(267) 270 2787

Mount Airy Contemporary Artists Space (MACAS) is pleased to present artwork by Philadelphia artist Erin Murray and New York artist Mark Masyga.

Erin Murray, “Complexity and Contradiction on the Side of the Road"

Erin Murray’s crisp paintings of commercial and residential buildings borrow from the language and grammar of portraiture: these structures are depicted as individuals, wearing the evidence of their personal histories on their skin/façades.

Presented in the foreground, in full frontal or 3/4 view, with minimal background noise, these buildings gaze back at us.  In these paintings, there is no architect or planner;  these buildings are the sum of an accumulation of small daily decisions, accidents of weather, and the many and small imprints of their various and serial inhabitants.

Buildings can be humble, vain, weary, silly, sincere and beautiful – when we say a building has character, it’s really a shortcut for saying “this building has humanness – it’s humane because it is human”.   To anthropomorphize architecture, as Murray does in this work, is to mirror back our own essential natures to us.

Mark Masyga, untitled 2.01.11

Mark Masyga’s paintings and sculptures  share a sense of architectural implosion.  Things fall apart, fall together, fold, sprout.

Masyga’s paintings especially convey a sense of orderly linearity attempting to rise out of chaos,  architecture unfolding like reverse origami from an impossibly crumpled sheet of paper.

Masyga’s sculptures speak to compressive weight and physicality, of lumber and concrete.  There is the sense among the chaos of plywood sheeting and 2x4s that here, too, order may arise, defying entropy.

Erin Murray, “Miesian Influence Loop”

Mark Masyga

Opening Reception Photos:

[flickrgallery setid=”72157626672790808″ limit=“12”]


5/29/2011 Philadelphia Inquirer, Edith Newhall, Erin Murray and Mark Masyga

A smartly paired two-person show of paintings and sculpture by Mark Masyga and paintings by Erin Murray has one more Saturday to go at Mount Airy Contemporary Artists Space.

Masyga’s paintings of stacked rectangular forms suggest the detritus common to industrial sites, such as unruly piles of wood pallets; that impression is bolstered by his sculptures of wood, plaster, Structo-Lite, and actual detritus that are surely meant to be his own table-size demolitions.

Murray has painted a series of modernist-influenced houses and commercial buildings that are the poor relatives of the elegant glass rectangles designed by Mies van der Rohe and Philip Johnson. These less fortunate structures have fake mansard roofs slapped on top of them, enormous front windows that reflect the hideous hodgepodge of architecture across the street, or are, perhaps, an abandoned gas station or a two-story early version of the strip mall. But Murray infuses her knock-off architecture with a dark sense of humor. The top of a pine tree sticks up incongruously behind a one-story office building, right in the middle, like a bizarre ornament, in Executive Mansardic; the abandoned gas station in Miesian Influence Loop is shown from the back, as if embarrassed.


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