Revolutions depart behind artifacts — not at all times weapons or flags, however the quieter objects that carried a message earlier than anybody knew how far it might 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 chunk 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 particular lineage of dissent — one which connects street-level protest to the start of Bitcoin itself. Mear One (b. 1971, Santa Cruz, CA) has spent almost 4 a long time utilizing the partitions of Los Angeles as a medium for political and financial confrontation. He pioneered the Melrose graffiti artwork motion within the late 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 sequence of anti-war road 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 Conflict broadsides within the early Nineties by way of the Occupy Wall Avenue encampments of 2011, Mear One has been making work that insists the basis downside 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 is just not over, or the best way to exit a loop.
BMAG: Mear One, you began writing on partitions in Los Angeles within the mid-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 Nineties, you have been making large-scale political work — anti-Gulf Conflict 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 have been you making an attempt to succeed in?
Mear One: Graffiti is the voice of the dissatisfied soul, and again then it was a automobile to succeed in the plenty earlier than the web took off & social media ever existed. Once 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. Aware artwork speaks to aware individuals, and the act of vandalism carries with it an power that helped instigate a motion which was missing. The streets have been our assembly floor, and getting away with it saved 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. Once you look again on the work you have been making in the course of the Gulf Conflict period and later throughout Occupy Wall Avenue, how a lot of it feels prefer it was pointing towards the identical structural critique that bitcoin would finally encode into its protocol?
Mear One: Fairly actually, 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 way of my artwork. I believe all of us want an ideology or motion that speaks to and presents an answer to the limitless new world order slave entice 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 faculties, creators of our bankers’ wars. Satoshi knew this. People don’t actually have world battle points with each other, these points stem from financial and political energy struggles exterior of our elementary human wishes like freedom, love, a non secular connection to the next objective. My objective as an artist is to at all times 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 road 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 government energy. What did that have educate you about utilizing artwork as a device 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 specific my angst and dismay of American politics on the time. Preventing wars for overseas 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 involved in studying how the system of cash truly operates, what cash is, and searching for to articulate by way of my artwork a extra correct definition of the brand new world order culminating in my most controversial work so far False Income.
“You can’t dismantle the grasp’s home with the grasp’s instruments.” Subversive artwork, subliminal artwork, unlawful artwork, artwork that punches you within the intestine with information and satire utilizing a twig can, paint brush, wheat pastes, music, comedy, movie, no matter instruments are in your artistic package, artwork is the best approach to create change. I believe nice artwork stands the take a look at of time for its high quality of being considerably psychic, narrating the trigger earlier than the impact is extensively understood by the plenty, earlier than it’s too late.
BMAG: Avenue 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 momentary — are actually being proven in a gallery context as historic artifacts?
Mear One: They’re nonetheless related, satirically, as a result of nothing’s modified! Identical circumstance, totally different puppets. These works level out a situation that’s ongoing inside our human story, and it’s necessary 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 at all times now!
BMAG: You have been making anti-war road artwork in the course of the first Gulf Conflict. Now, greater than thirty years later, we’re watching one other navy escalation within the Center East — this time with Iran. The equipment appears to be like totally different, the justifications sound totally different, however the financial structure beneath it’s remarkably comparable. For a era that got here of age watching 9/11 grow to be the justification for twenty years of battle after which watched the 2008 crash reveal that the monetary system underwriting all of it was itself a fraud — if 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 stated, all wars are bankers wars. And for lots of of years we’ve been fed a false narrative about who our enemy is. There’s numerous truths I’ve tried to level out by way of my artwork and it has made my life a lot more durable for it. I’ve been criticized, censored, almost 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. Typically 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 at all times like that to start with – however individuals are waking up. It’s not simple to do artwork that factors out what’s unsuitable with the system. However it’s additionally not simple 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 individuals sharing the enjoyment and vigor for revolution.
BMAG: There’s an argument — and it runs deep in Bitcoin pondering — that wars aren’t actually fought over ideology or territory however over financial management. That each main battle is finally about defending or resetting an financial order that advantages the individuals waging it. Your work has been making that case visually because the Nineties. How do you articulate that connection between battle and cash to somebody who hasn’t thought of it that approach?
Mear One: I create an allegory that consists of the primary components, I’m challenged to current it in its most digestible type; but that is sophisticated material so this problem causes me to incorporate subliminal psychedelic mythological archetypes and symbolism all coming collectively to help on this sophisticated narrative, not solely to create one thing visually compelling, however to present the subject material a spotlight and a spot to grow to be a dialogue amongst individuals. By way of narrative artwork you possibly can introduce concepts that folks wrestle with within the summary.
BMAG: The 2008 crash, the bailouts, Occupy, and now what appears to be like 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 to 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 that 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 Avenue trying to hijack bitcoin all of the whereas in-fighting amongst inner ideologues rages on, all that noise obscures bitcoin’s unique ethos. These are its issues which might be being labored out. I’m rather 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 finally follows I hope is a non secular revolution. I see bitcoin as a crowbar in an emergency break the glass state of affairs the place it’s vital for the following 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 particular second the place it clicked for you as related to the identical values and frustrations that had pushed your road 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 attention-grabbing thought at the back of my thoughts. As I deepened my training into what cash is thru Occupy and to the creation/fallout of my London mural in 2012, my path finally led my woman and I to our first bitcoin convention down in Mexico at Anarchapulco. We have been launched to a tribe of anarchists who shared comparable sentiments on politics and way of life. I had hundreds of thousands of questions, everybody had solutions, and like a sponge I absorbed this data. I rocked two stay 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 referred to as Relics of a Revolution. Do you suppose the revolution it’s referencing is over, nonetheless occurring, or one thing that hasn’t totally begun but?
Mear One: Revolution is a each day prevalence, it is likely one of the inevitable facets of life that you just both participate in or it’s gonna take part of you. Revolution actually means a cycle that we expertise in several seasons throughout totally different cultures, time and area. There’s quite a lot of revolutions at present happening. What’s nice about bitcoin is it someway is ready to join and bridge to them all of sudden as a result of finally 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. Once you see your work displayed alongside that artifact, what would you like somebody strolling by way of 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 artistic endeavors! And I don’t imply that facetiously. Each nice artwork motion had their Medicis, these whose energy and affect outlined the model & concepts of a era. 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 rules 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 nice artwork belongings of freedom by completed artists requires the patronage of these with ardour for these aesthetic visions. At the moment we face WW3, financial destruction, commerce & agriculture collapse. Bitcoin cuts that circuit of struggling & punishment. Our final struggle 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 sequence 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 stay 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 “ Bitcoin Artwork By way of a Protest Lens.” A novel print by Mear One entitled The Magician is accessible completely by way of 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. Be taught extra about BMAG at museum.b.tc. Comply with BMAG on twitter @BMAG_HQ. Bundle your Bitcoin 2026 pass with a stay at The Venetian and get your fourth night time free. Use code AFTERS for a free After Hours Move, or get your pass alone here.
