Revolutions depart behind artifacts — not all the time weapons or flags, however the quieter objects that carried a message earlier than anybody knew how far it could journey. A wheat-pasted broadside on a Los Angeles overpass. A hand-lettered cardboard signal held up within the snow exterior a Tokyo workplace constructing. A newspaper headline, pulled from the entrance web page of The Instances of London and encoded completely into a bit of software program that will go on to problem the structure of world finance.
The works gathered in Relics of a Revolution on the Bitcoin 2026 Convention in Las Vegas hint a selected lineage of dissent — one which connects street-level protest to the beginning of Bitcoin itself. Mear One (b. 1971, Santa Cruz, CA) has spent practically 4 many years utilizing the partitions of Los Angeles as a medium for political and financial confrontation. He pioneered the Melrose graffiti artwork motion within the late Nineteen Eighties, was the primary graffiti artist to exhibit on the 01 Gallery on Melrose and at 33 1/3 Gallery in Silverlake — the place Banksy would later debut his first North American present — and in 2004 joined Shepard Fairey and Robbie Conal on the Be the Revolution tour, a nationwide collection of anti-war avenue artwork interventions in the course of the Bush administration. His work was a part of the landmark Artwork within the Streets exhibition on the Los Angeles Museum of Modern Artwork in 2011 and resides within the everlasting collections of the Laguna Artwork Museum amongst others. From anti-Gulf Warfare broadsides within the early Nineteen Nineties by the Occupy Wall Road encampments of 2011, Mear One has been making work that insists the foundation drawback is the system itself — not the politicians or the insurance policies, however the underlying structure of cash and energy.
I sat down with Mear One forward of his panel at Bitcoin 2026 to speak about protest, artwork, damaged methods, and why the revolution just isn’t over, or find out how to exit a loop.
BMAG: Mear One, you began writing on partitions in Los Angeles within the mid-Nineteen Eighties, at a second when graffiti was nonetheless broadly criminalized and the thought of it getting into museum collections would have appeared far-off. By the early Nineteen Nineties, you had been making large-scale political work — anti-Gulf Warfare broadsides, items confronting financial energy buildings head-on. What was driving you to make use of the road as a political medium at that time, and who had been you attempting to achieve?
Mear One: Graffiti is the voice of the dissatisfied soul, and again then it was a car to achieve the lots earlier than the web took off & social media ever existed. If you illegally spray paint your concepts within the public realm it resonates with the urbanite caught in site visitors, angers town officers whose dilapidated partitions we scribe like a giant center finger to their failed insurance policies. Acutely aware artwork speaks to acutely aware folks, and the act of vandalism carries with it an power that helped instigate a motion which was missing. The streets had been our assembly floor, and getting away with it stored us all nameless, permissionless.
BMAG: There’s a phrase that circulates in bitcoin tradition — “all wars are banker’s wars.” The Genesis Block itself comprises a newspaper headline a couple of financial institution bailout. If you look again on the work you had been making in the course of the Gulf Warfare period and later throughout Occupy Wall Road, how a lot of it feels prefer it was pointing towards the identical structural critique that bitcoin would ultimately encode into its protocol?
Mear One: Fairly truthfully, after I found bitcoin it instantly jogged my memory of the graffiti, hip hop, and punk rock tradition I grew up in, it mirrored the revolutionary requirements I used to be speaking by my artwork. I believe all of us want an ideology or motion that speaks to and affords an answer to the countless new world order slave lure that so many have grow to be accustomed to. And it seems the architects who created this present financial matrix are the identical builders of our jail colleges, creators of our bankers’ wars. Satoshi knew this. People don’t actually have world struggle points with each other, these points stem from financial and political energy struggles exterior of our elementary human needs like freedom, love, a non secular connection to the next function. My purpose as an artist is to all the time expertise freedom, to set myself free from the system, that is the premise of my artwork, philosophy and resistance.
BMAG: In 2004, you joined Shepard Fairey and Robbie Conal on the Be the Revolution tour — taking anti-war, anti-corporate avenue artwork throughout the nation in the course of the Bush administration. That was 4 years earlier than the monetary collapse, and three years after 9/11 had already been used to justify unprecedented expansions of surveillance, navy spending, and govt energy. What did that have train you about utilizing artwork as a software for financial and political resistance, and the way did it form your pondering when the crash truly arrived?
Mear One: Be the Revolution with Robbie and Shepard was extra so an outlet to precise my angst and dismay of American politics on the time. Combating wars for international sources to promote for revenue exacerbating this hierarchy of haves and have nots nonetheless weighs heavy on my philosophical coronary heart.
However when the monetary crash hit in 2008 my revolutionary lens shifted drastically, and for the primary time in my life I grew to become desirous about studying how the system of cash truly operates, what cash is, and looking for to articulate by my artwork a extra correct definition of the brand new world order culminating in my most controversial work up to now False Earnings.
“You can not dismantle the grasp’s home with the grasp’s instruments.” Subversive artwork, subliminal artwork, unlawful artwork, artwork that punches you within the intestine with details and satire utilizing a twig can, paint brush, wheat pastes, music, comedy, movie, no matter instruments are in your inventive package, artwork is the simplest solution to create change. I believe nice artwork stands the check of time for its high quality of being considerably psychic, narrating the trigger earlier than the impact is broadly understood by the lots, earlier than it’s too late.
BMAG: Road artwork is ephemeral by nature — it will get buffed, painted over, torn down, rained on. A few of your protest works from the Occupy period and earlier have survived. What does it imply to you that objects made in that spirit of urgency — work created to be short-term — are actually being proven in a gallery context as historic artifacts?
Mear One: They’re nonetheless related, mockingly, as a result of nothing’s modified! Identical circumstance, completely different puppets. These works level out a situation that’s ongoing inside our human story, and it’s essential as Bitcoiners to pay reminiscence to our previous struggles and the cures which we select to unravel them. On this spirit of urgency these Relics of Revolution are calling out for precisely that – the time for change is all the time now!
BMAG: You had been making anti-war avenue artwork in the course of the first Gulf Warfare. Now, greater than thirty years later, we’re watching one other navy escalation within the Center East — this time with Iran. The equipment seems to be completely different, the justifications sound completely different, however the financial structure beneath it’s remarkably comparable. For a technology that got here of age watching 9/11 grow to be the justification for twenty years of struggle after which watched the 2008 crash reveal that the monetary system underwriting all of it was itself a fraud — once you see this cycle repeating, does it really feel like affirmation of one thing you’ve been saying on partitions for many years, or does it really feel like failure — that the message didn’t land?
Mear One: Such as you mentioned, all wars are bankers wars. And for a whole bunch of years we’ve been fed a false narrative about who our enemy is. There’s quite a lot of truths I’ve tried to level out by my artwork and it has made my life a lot tougher for it. I’ve been criticized, censored, practically cancelled, had my life threatened, labelled all kinds of heinous issues. However I resisted, I used to be unapologetic, and I proceed to do my work unfazed. Generally it looks like I’m standing on the road nook pointing up within the sky, screaming on the prime of my lungs in regards to the chemtrails, and everybody simply thinks I’m loopy – it’s all the time like that at first – however persons are waking up. It’s not straightforward to do artwork that factors out what’s incorrect with the system. However it’s additionally not straightforward to be sincere with your self and settle for the mediocre mundane pointless actuality that’s the social norm. The reward in doing that is to see a motion like bitcoin spawning and like-minded folks sharing the enjoyment and vigor for revolution.
BMAG: There’s an argument — and it runs deep in Bitcoin pondering — that wars usually are not actually fought over ideology or territory however over financial management. That each main battle is in the end about defending or resetting an financial order that advantages the folks waging it. Your work has been making that case visually for the reason that Nineteen Nineties. How do you articulate that connection between struggle and cash to somebody who hasn’t considered it that approach?
Mear One: I create an allegory that consists of the primary elements, I’m challenged to current it in its most digestible type; but that is difficult subject material so this problem causes me to incorporate subliminal psychedelic mythological archetypes and symbolism all coming collectively to help on this difficult narrative, not solely to create one thing visually compelling, however to provide the subject material a spotlight and a spot to grow to be a dialogue amongst folks. By narrative artwork you’ll be able to introduce concepts that individuals battle with within the summary.
BMAG: The 2008 crash, the bailouts, Occupy, and now what seems to be like one other cycle of inflation, debt, and navy spending — do you see Bitcoin as the primary actual exit from that loop, or simply the most recent try and construct one thing exterior a system that retains absorbing its opposition?
Mear One: I’m a non-dogmatic being by nature. Bitcoin to me is the primary wave in new expertise which may steer us away from the fiat slave system. However I’m not satisfied that it’s the be-all and end-all for our present predicament. As we observe Wall Road making an attempt to hijack bitcoin all of the whereas in-fighting amongst inside ideologues rages on, all that noise obscures bitcoin’s unique ethos. These are its issues which are being labored out. I’m far more a believer in innovation and I welcome many extra new innovations to enter our realm. I believe that the financial actuality must run its course although, and what ultimately follows I hope is a non secular revolution. I see bitcoin as a crowbar in an emergency break the glass scenario the place it’s crucial for the subsequent iteration of the place we’re heading into the 2030s. I do consider that’s in direction of a state of final freedom the place the idea of cash itself will grow to be out of date as we migrate nearer to rebuilding a brand new world.
BMAG: How did you first encounter Bitcoin, and was there a selected second the place it clicked for you as related to the identical values and frustrations that had pushed your avenue apply for many years?
Mear One: Again in 2009 I ran right into a mathematician at a espresso store in my neighborhood, we struck up dialog over my artwork and he hipped me to bitcoin for the primary time. I by no means noticed myself as one who would make investments cash into cash, so it was simply an fascinating concept at the back of my thoughts. As I deepened my schooling into what cash is thru Occupy and to the creation/fallout of my London mural in 2012, my path ultimately led my girl and I to our first bitcoin convention down in Mexico at Anarchapulco. We had been launched to a tribe of anarchists who shared comparable sentiments on politics and life-style. I had tens of millions of questions, everybody had solutions, and like a sponge I absorbed this information. I rocked two dwell artwork items for the neighborhood, which I auctioned off. These collectors helped me arrange my first pockets (shout out EDGE) in addition to the transactions in trade for my proof-of-work. That’s when it clicked for me, after I earned my first cash.
BMAG: Your work is in a present known as Relics of a Revolution. Do you suppose the revolution it’s referencing is over, nonetheless occurring, or one thing that hasn’t absolutely begun but?
Mear One: Revolution is a each day prevalence, it is without doubt one of the inevitable facets of life that you simply both participate in or it’s gonna take part of you. Revolution actually means a cycle that we expertise in several seasons throughout completely different cultures, time and area. There’s quite a lot of revolutions at the moment going down. What’s nice about bitcoin is it by some means is ready to join and bridge to them unexpectedly as a result of in the end it seeks what all of us want – freedom from the system.
BMAG: This exhibition is known as Relics of a Revolution, and it contains your protest works alongside an unique copy of The Instances from January 3, 2009 — the newspaper whose headline Satoshi embedded within the Genesis Block. That newspaper is the second a prognosis grew to become a protocol — the second the frustration that Mear One had been portray on partitions and that Kolin would later stick with it an indication in Tokyo was encoded into one thing that would not be buffed, censored, or bailed out. If you see your work displayed alongside that artifact, what would you like somebody strolling by this exhibition to remove — somebody who might know Bitcoin as a worth ticker however doesn’t know the historical past of why it exists?
Mear One: Gather these artworks! And I don’t imply that facetiously. Each nice artwork motion had their Medicis, these whose energy and affect outlined the type & concepts of a technology. All of the works you see right here within the gallery is artwork denominated in bitcoin, created by artists whose works are impressed by the philosophical ideas underlying the best bitcoin paintings of all of them, the Genesis Block. Like bitcoin, artwork is the best retailer of worth. However cultural preservation of those effective artwork belongings of freedom by completed artists requires the patronage of these with ardour for these aesthetic visions. At present we face WW3, financial destruction, commerce & agriculture collapse. Bitcoin cuts that circuit of struggling & punishment. Our final battle is with the controllers of cash and their bullshit fiat establishments, rendering their scheme out of date and irrelevant.
That is Half II of a three-part interview collection accompanying the Relics of a Revolution exhibition. Half I options Kolin Burges. Half III, that includes Afroman, is forthcoming.
Repair the cash. Repair the world.
Mear One will likely be portray dwell within the BMAG artwork gallery all through Bitcoin 2026, April 27–29, at The Venetian Resort, Las Vegas, and can seem on a talking panel moderated by Dennis Koch titled “Taking a look at Bitcoin Artwork By a Protest Lens.” A novel print by Mear One entitled The Magician is out there solely by BMAG. Preview Mear One’s historic protest works included within the Relics of a Revolution exhibition within the BMAG B26 public sale HERE.
The Bitcoin Museum & Artwork Gallery (BMAG) is the curatorial and cultural programming division of BTC Inc and the Bitcoin Convention. Since 2019, the BMAG convention artwork gallery has facilitated greater than 120 BTC in artwork and collectible gross sales. Study extra about BMAG at museum.b.tc. Observe BMAG on twitter @BMAG_HQ. Bundle your Bitcoin 2026 move with a keep at The Venetian and get your fourth night time free. Use code AFTERS for a free After Hours Cross, or get your move alone right here.
