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
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