The Occupy with Art blog provides updates on projects in progress, opinion articles about art-related issues and OWS, useful tools built by artists for the movement, new features on the website, and requests for assistance. To submit a post, contact us at occupationalartschool(at)gmail(dot)com .
Wednesday, October 26, 2011 at 11:44AM 
AVAILABLE SOON IN THE OCCUPENNIAL OCCUGANDA DOWNLOADS SECTION
OCCUPY HALLOWEEN, occu-ganda, occupennial in DOWNLOADS, activism, events, interventions Wednesday, October 26, 2011 at 08:07AM 
CLICK THE IMAGE TO VISIT THE GALLERY.
NYCGA/AC Photography Guild co-organizer Will Hamza Giron added a set of terrific images to the Occupennial PROTESTS gallery. Check them out!
Occupennial invites you to add your images of protests, protesters, signs and the art of #OWS to our fast-growing archive of photos of the occupation! Follow the guidelines here to contribute:
Occupy Times Square, Ooccupennial, photography in PHOTOS, protests Tuesday, October 25, 2011 at 06:53PM 
CLICK THE IMAGE TO DOWNLOAD THE PDF, FREE.
With the help of Astra Taylor (Examined Life; Zizek!) and Sarah Leonard of Dissent and the New Inquiry, we’ve put together a history, both personal and documentary, and the beginning of an analysis of the first month of the occupation. Articles deal with the problem of the police; the history of the “horizontalist” management structure at OWS; how to keep a live-in going when what you’ve tried to shut down refuses to shut down (like Harvard, or Wall Street); on whether the Fed should be abolished; on where that Citibank arrest video came from; on occupations in Oakland, Philadelphia, Atlanta; on what happens next; and more.
It’s an attempt to begin to think through what is happening, written by people both on the ground and across the river. We hope you’ll read it and discuss it with us. There’s a lot more thinking and doing to do.
N+1, occupennial, occupy wall street in texts Tuesday, October 25, 2011 at 05:17PM 1.0 Class is an issue of fundamental importance for art
1.1 Inasmuch as art is part of and not independent from society, and society is marked by class divisions, these will also affect the functioning and character of the sphere of the visual arts
1.2 Since different classes have different interests, and “art” is affected by these different interests, art has different values depending on from which class standpoint it is approached
1.3 Understanding art means understanding class relations outside the sphere of the visual arts and how they affect that sphere, as well as understanding class relations within the sphere of the visual arts itself
1.4 In general, the idea of the “art world” serves as a way to deflect consideration of both these sets of relations
1.5 The notion of an “art world” implies a sphere that is separate or set aside from the issues of the non-art world (and so separates it from class issues outside that sphere)
1.6 The notion of an “art world” also visualizes the sphere of the visual arts not as a set of conflicting interests, but as a harmonious confluence of professionals with a common interest: “art” (and so denies class relations within that sphere)
1.7 Anxiety about class in the sphere of the visual arts manifests in critiques of the “art market”; however, this is not the same as a critique of class in the sphere of the visual arts; class is an issue that is more fundamental and determinate than the market
1.8 The “art market” is approached differently by different classes; discussing the art market in the absence of understanding class interests serves to obscure the actual forces determining art’s situation
1.9 Since class is a fundamental issue for art, art can’t have any clear idea of its own nature unless it has a clear idea of the interests of different classes
2.0 Today, the ruling class, which is capitalist, dominates the sphere of the visual arts
2.1 It is part of the definition of a ruling class that it controls the material resources of society
2.2 The ruling ideologies, which serve to reproduce this material situation, also represent the interests of the ruling class
2.3 The dominant values given to art, therefore, will be ones that serve the interests of the current ruling class
2.4 Concretely, within the sphere of the contemporary visual arts, the agents whose interests determine the dominant values of art are: large corporations, including auction houses and corporate collectors; art investors, private collectors and patrons; trustees and administrators of large cultural institutions and universities
2.5 One role for art, therefore, is as a luxury good, whose superior craftsmanship or intellectual prestige indicates superior social status
2.6 Another role for art is to serve as financial instrument or tradable repository of value
2.7 Another role for art is as sign of “giving back” to the community, to whitewash ill-gotten gains
2.8 Another role for art is symbolic escape valve for radical impulses, to serve as a place to isolate and contain social energy that runs counter to the dominant ideology
2.9 A final role for art is the self-replication of ruling-class ideology about art itself—the dominant values given to art serve not only to enact ruling-class values directly, but also to subjugate, within the sphere of the arts, other possible values of art
READ MORE IN THE OCCUPENNIAL LIBRARY, HERE.
(Submitted by the author for Occupennial Blog/Library - Admin)
occupennial, occupy wall street, texts in art and class, submissions, texts Tuesday, October 25, 2011 at 05:11AM 
Portraits from Liberty Plaza by Monty Stilson
To view Monty's Occupennial photo gallery, "Portraits from the Epicenter," click HERE.
Ooccupennial, Submissions, occupy wall street, portraits in PHOTOS Monday, October 24, 2011 at 02:18PM We of #OWS Arts and Culture working group are dedicated to the use of non-violent action to express our Constitutionally-assured right to peaceably assemble for the redress of grievances. #OWS Arts and Culture seeks to develop strong community relations with those who also care about the future of the 99%. That community includes arts organizations with long histories of 99%-supporting activities, like those practiced by Artists Space. The individuals who intervened there this weekend acted autonomously, with no connection to, support from, or consensus with #OWS.
NOTE: The above statement is in a BETA version until tomorrow's meeting of the NYCGA Arts and Culture Working Group Meeting (6PM at 60 Wall Street). We invite all to contribute input or feedback for this statement in the COMMENTS field below. Your responses will be added as addenda to the final document arrived at through consensus in the group. This statement was developed through an online discussion thread on the Arts and Culture Google Group, which is organized as a transparent, open membership. Eleven people contributed to the statement's formation over the course of several dozen emails, before the statement's posting for group consideration on the Occupennial Blog here, in advance of full discussion at the meeting tomorrow (October 24).
occupennial, occupy wall street, statements in interventions Monday, October 24, 2011 at 06:32AM 
Occupying the Art World
By Ruth Erickson (ruthee@sas.upenn.edu)
The temporary occupation of space to confront powerful institutions has been on my mind as the Occupy Wall Street movement passes its month-long mark. The protestors condemn the increasing concentration of wealth into the hands of fewer and fewer people and the precarious existence of the other 99%. They have set up camps across the country, assembling patchwork plots of sleeping bags, hand-written signs, and stations for first aid, food, and media. The camps' ad-hoc aesthetics visualize the very precariousness of the occupiers, who have been arrested, pepper sprayed, and beaten by the hundreds, but whose outraged sentiments seem to only grow with time. In late September two events took place in New York City to draw attention to the inequalities and machinations of the art market through the temporary and insurrectionary claiming of space. On September 22, Occupy Wall Street activists infiltrated a Sotheby's auction to protest the company's anti-union policies and to show support for art handlers who have been locked out of contract negotiations since mid-summer. One by one protesters disrupted the auction by standing up and making damning pronouncements about, for instance, the CEO s salary increases and the art handlers' dwindling wages before being escorted out by Sotheby s security.
On September 23, the longtime politically engaged French artist Fred Forest planned his Oeuvre Invisible for the Museum of Modern Art, which consisted of measuring a square meter and then occupying this space by placing ultra-sonic sound emitters. The project relates to Forest's conception of objects as invisible systems in his book L'Ruvre-Système Invisible (Harmattan, 2006) and continues four decades of culture jamming actions by the now 78-year-old artist. Forest's career of détournement began with his 1972 work Space Media when he inserted blank spaces in newspapers, the radio, and television and invited consumers to fill in the space with their free expressions and thoughts, thereby reversing the conventional direction of mass media communication. Oeuvre Invisible brings together two themes, in particular, that have occupied Forest throughout his career: critique of the art market and invisibility.
For his project Artistic Square Meter in 1977, Forest purchased land at the border of France and Switzerland and attempted to re-sell parcels at an art auction to illustrate speculation in the art market. When French authorities outlawed the sale, Forest replaced the square meter of land with a piece of fabric, which he bought, declared a "non-artistic square meter," and sold for a couple thousand dollars. At Documenta in 1987, Forest created a 14,000 Hertz electromagnetic field by secretly placing transmitters in the within the Fridericianium and then used local press to reveal the existence of the uninvited work. Continuing his critique of institutions, in 1994, Forest requested that the Centre Georges Pompidou make publicly available the price paid for Hans Haacke's work Shapolsky et al. (1971), in which Haacke charts Shapolsky's dirty real estate dealings around New York City. Haacke's work was famously censored at the time of exhibition by the Guggenheim Museum but has since become a canonical work of institutional critique, purchased by many major museums for millions of dollars. The publicly-funded museum refused, and in order to reveal this lack of transparency and speculation, Forest sued the museum in a multi-year court case, which which was finally founded in favor of the institution (see Forest's Fonctionnements et dysfonctionnements de l _art contemporain, Harmattan, 2000). From March to September of 2011, Forest lived in New York City as a resident at Residency Unlimited and quickly set his sights on the MoMA for his next playful critique. (Fred Forest, The Conversation, September 23, 2011, Museum of Modern Art, courtesy the artist)
The project for the MoMA was the insurrectionary insertion of an invisible work, which would always remain beyond the grasp of institutional acquisition. Upon arriving with his group of volunteers at 4pm, Forest was greeted by three security agents who prohibited the work and threatened to call the New York City police if any performance took place. A twenty-minute conversation between Forest and the guards ensued about freedom of expression within the museum. The MoMA, Forest learned, only exhibits acquired or borrowed works, that is, works that have already participated in the art market. This is the very market being attacked sixty blocks further south by Occupy Wall Street and just a few block north by protestors at Sotheby's. This is the market that Forest had made visible through the failure of his Oeuvre Invisible. After being trailed by security guards until leaving the building and area, Forest declared the creation of a new work, "The Conversation."
Video Documentation of Sotheby protest:
http://www.truth-out.org/occupy-wall-street-activists-disrupt-sothebys-art-auction/1316784991
Video Documentation by the Biennale Project of The Conversation by Fred Forest:
http://www.youtube.com/watch?v=A_5rXN6nkx4
http://www.youtube.com/watch?v=wo4pneZF-0E
http://www.youtube.com/watch?víXnYf829i4
occupy the art world, occupy wall street in art and work, texts Sunday, October 23, 2011 at 11:53AM 
CLICK ON THE IMAGE TO VIEW THE E-BOOK.
ABC No Rio Dinero: The Story of a Lower East Side Art Gallery
Edited by Alan Moore and Marc Miller
New York: ABC No Rio with Collaborative Projects, 1985
Excerpt:
ABC No Rio Dinero: The Story of a Lower East Side Art Gallery is a catalogue of the gallery's first five years as well as an exploration of the broader artistic context from which No Rio emerged. Although No Rio never followed a strict agenda, it viewed itself as an interactive space where art, politics and community mixed. As such, the gallery was linked to artist groups like Colab, Group Material, and PADD, as well as the South Bronx gallery, Fashion/Moda. No Rio found inspiration in its Hispanic neighborhood, but it also connected with the East Village's newly burgeoning music and club scene, and the wave of commercial art galleries that opened in the area soon after No Rio began. During No Rio's first years, shows were generally organized by artists, and open to all who wanted to participate. The gallery specialized in theme exhibitions and was the launching pad for new ideas as well as for the careers of many successful artists.
Ooccupennial, library, occupy wall street in texts Saturday, October 22, 2011 at 11:06PM Occupy Wall St. has been invited to join the largest public halloween parade in the nation!
They are going to give us a great spot and support our participation in the parade. Occupation Accomplished!
Last year over 60,000 people showed up and it was widely covered in the media, both in NYC and globally. So it's up to us to show the world what our movement is about. The whole world is watching!
TIME: 5:00 pm Meet-up. Parade begins 6:30.
LOCATION: Parade begins at Spring St. and 6th Ave. We will meet up nearby to gather our forces before we march. Check back soon for the exact location.
MARCH ORGANIZATION:
In line with our movement's principles, we are asking people to step forward and self-organize their own costume blocs. If you are more than 30 people or so, consider having your own banner. We will all march together in our own #OccupyHalloween section of the parade.
BLOCS
We encourage you to find others doing similar themes and connect, so you can work together as a bloc. You can also contact us at occupyhalloween@gmail.com so we can help support you in this.
Themed Blocs may include...
Wall St. Zombie Bloc
Corporate Vampire Bloc
Superhero Bloc
V-mask Bloc
Music Blocs (Marching bands, drummers, etcs)
Or whatever you want to do!
FREE FOR ALL SECTION
For those of us who do not have a bloc, we will all be marching together in the giant "Free for All' section. That will probably be most of us. Let's make it huge!
A NOTE ON MESSAGING
This is not only a chance to celebrate (which we deserve!) but also an amazing opportunity to express our message to the larger public, both in NYC and the entire world. So consider taking the following costuming tips in order to maximize your message.
PARTICIPATE
We still need help building puppets and costumes, as well as with materials and supplies. To join in, go here.
For much more information, please visit the Occupy Halloween website
costume, halloween, intervention, occupy wall street, ows, performance in activism, events, interventions Friday, October 21, 2011 at 07:44PM I was away this week and missed the occupy museums protest, but I wanted to share some thoughts. First, I do want to affirm that it is worth challenging the increasing corporate control of museums. Many of the people who sit on museum boards are the same people that have profited most from financial speculation. They have driven speculation in the art market by increasing the power of auction houses. (I recently read a quote by a Christie's executive that I can no longer locate that claimed wealthy art patrons would rather pay twice as much for a work at auction than buy directly from a gallery because paying more at auction drives up the value of the work.) The corporate influence in art does not merely extend to boards of directors or to corporate sponsorship, but in the ways that corporate value structures, funding priorities, and administrative models have seeped their way into almost all non-profit arts organizations. In the 60’s, artists challenged the major art institutions in New York (this movement is covered eloquently in Julia Bryan-Wilson’s book Art Workers and can be referenced in the papers from the Art Workers Coalition: http://primaryinformation.org/index.php?/projects/art-workers-coalition/), which led to the proliferation of artist-controlled spaces and increased federal funding for living artists in the 1970’s. Over the last 30 years, these artist-led organizations have seen their once radical mission statements watered down to neo-liberal grantspeak.
The 99% is useful as a slogan and protesting museums makes for a good media moment, but focusing only on the most obvious manifestations of inequality we should not ignore the ways that we have all been complicit in creating the current economic situation. Beyond art institutions, Pierre Bourdieu’s laborious study of “taste” in mid-20th century France suggested that the primary activity of artists and academics was to reproduce their own privileged cultural status. Peter Burger’s Theory of the Avant-Garde also explores the category of art as a social system, distinguishing between the historical avant-garde of 19th C and early 20th C Europe--led by artists who were actively involved in reshaping social norms--and later forms of modern or contemporary art such as AbEx or Pop Art that absorbed the idea of revolution into an aesthetic framework and once-again reframed these acts as the work of heroic, individual genius. Bourdieu’s findings continue to be my reality check, preventing me from getting terribly lofty about my own personal achievements or considering art as some kind of moral good in and of itself. They challenge me to find ways to use whatever agency I manage to obtain in ways that empowers others. (Bourdieu also was not fully convinced of art or academia’s futility; he used his position of prestige to champion universal access to high quality public education).
In her 1989 book Loft Living, when Sharon Zukin tried to define what she called the “artistic mode of production”, her definition was still a bit nebulous. Now, however, we can quite clearly see the “artistic mode of production” as a form of precarious work (For the sake of brevity, I’ll just cite the wikipedia definition here: http://en.wikipedia.org/wiki/Precarious_work) Unfortunately, the competitiveness of the contemporary art world—heightened by the individual drive for celebrity, authorship, and uniqueness—has helped drive the speculation of the art and real estate markets and increased the precarious working conditions for most art workers (the 99%). Paradoxically, the competitive atmosphere of the contemporary art world only leads to further isolation among artists who in the effort to preserve their autonomy, make themselves ever more vulnerable to speculation and exploitation. The speculation in the art market, which by some accounts has grown 20 times in 20 years, has also led to an expansion in the number of art degrees, which have doubled since 1990. Art, because of its close ties to wealth and finance, has become to look like a viable career option. The appearance of so much money floating through the art world in recent decades gave students the expectation that they too could "make it," so the put their heads down and got to work, not realizing that their increased productivity, their individual quests to produce something unique, something special, was actually what made them interchangeable service providers for art institutions and the greater art economy. In reality, money only comes to a handful of artists. And while most artists work in auxiliary jobs in art institutions or as instructors, they contribute to the legitimacy of the art market through their willingness to submit themselves to "careers" that offer little financial opportunity and by making little effort to come together and demand an alternative. I will leave the intricate connection between class and art, financial and cultural capital, because it is far too complicated to cover here and doesn’t even begin to address all the ingrained (often colonial) hierarchies between art and culture. {Also, when I use the word "artist" in this context, I am also including a broader swath of cultural workers including curators like myself}
I just returned home from a conference in Montreal on social and solidarity economies. There were 1500 or so participants from all over the world discussing ways to radically alter the world’s economy (and, in fact, ways that it is already being altered). The majority of the participants were either from places completely marginal to capitalism (for instance, Ecuador’s Minister for Social and Economic Inclusion stated that 67% of Ecuadorians fall outside the capitalist economy, making things like worker cooperatives an absolute necessity) or from social democracies like Canada, France and Spain where there is a broader recognition of the importance of balancing social and capital investment. I left excited, but also deflated, wondering how this type of thinking can ever take root here, in the very heart of capitalism. It would require not only new legislation and a restructuring of all the institutions of civil society towards social inclusion over profit, but a total readjustment of our perspectives, priorities, and daily habits of work and life.
Even in the meetings of the Occupy Wall Street Art and Culture working group, we see the same tendencies towards exclusion, power chasing, and greed rearing their ugly heads. When all possibilities are open, why then do we keep returning to the same pyramidal power structures, reproducing the same conditions of hierarchy, and marginalizing the same voices, over and over again?
I often think of artists like vedic scribes or monastic orders, those who secretly maintain analog technologies, archaic forms of knowledge, and alternative ways of being in the world, in times when there is no hope, no alternative. With OWS, we see a slight chance to bring these anarchic forms of wisdom back into the world. But the problem is that we have forgotten how to speak one another. We are conflicted between our own individual ambitions and our desire to contribute to the larger social good. This is why enacting alternatives will require more than simply protesting museums, taxing financial derivatives, or re-enacting Glass Steagall, but instead require us to come together to build new economic institutions and modes of art production through which we empower ourselves and others (artists and non-artists alike), both in our local neighborhoods and through our broader international art communities.
Right now, we have an opportunity to look very clearly and with great compassion at the way we are complicit in reproducing the habitual patterns that lead to inequitable and oppressive economic relations--kind of like that moment when you realize that you keep changing partners, but ending up in the same relationship--I really hope that we don’t waste it.
-Erin Sickler
Thursday, October 20, 2011 at 06:53AM
actions, activism, art business, occupennial, occupy wall street in activism, interventions Wednesday, October 19, 2011 at 02:47PM 
The game is up: we see through the pyramid schemes of the temples of cultural elitism controlled by the 1%. No longer will we, the artists of the 99%, allow ourselves to be tricked into accepting a corrupt hierarchical system based on false scarcity and propaganda concerning absurd elevation of one individual genius over another human being for the monetary gain of the elitest of elite. For the past decade and more, artists and art lovers have been the victims of the intense commercialization and co-optation or art. We recognize that art is for everyone, across all classes and cultures and communities. We believe that the Occupy Wall Street Movement will awaken a consciousness that art can bring people together rather than divide them apart as the art world does in our current time…
Let’s be clear. Recently, we have witnessed the absolute equation of art with capital. The members of museum boards mount shows by living or dead artists whom they collect like bundles of packaged debt. Shows mounted by museums are meant to inflate these markets. They are playing with the fire of the art historical cannon while seeing only dancing dollar signs. The wide acceptance of cultural authority of leading museums have made these beloved institutions into corrupt ratings agencies or investment banking houses- stamping their authority and approval on flimsy corporate art and fraudulent deals.
For the last few decades, voices of dissent have been silenced by a fearful survivalist atmosphere and the hush hush of BIG money. To really critique institutions, to raise one’s voice about the disgusting excessive parties and spectacularly out of touch auctions of the art world while the rest of the country suffers and tightens its belt was widely considered to be bitter, angry, uncool. Such a critic was a sore loser. It is time to end that silence not in bitterness, but in strength and love! Because the occupation has already begun and the creativity and power of the people has awoken! The Occupywallstreet Movement will bring forth an era of new art, true experimentation outside the narrow parameters set by the market. Museums, open your mind and your heart! Art is for everyone! The people are at your door!
Dear Occupiers,
Since I posted Occupy Museums yesterday on FB, it's going quite viral on the internet. There is lots of discussion about what it means, whether it's a good idea what museums are doing for the 99% and the 1%.
These discussions, I feel, are really good ones to be having in the context of Occupy Wall Street, because this movement is about changing how we do things in this country from finance to culture- moving away from a culture that mainly benefits the 1%
I'll need help in planning this action tomorrow. Since it was supported by the A & C, I'd like to make sure that this action comes from the heart of our movement. Who would like to be a part of the historic first Occupation of MoMA of 2011?
My idea is that artist and everyone occupies museums together, bringing your artworks as well as OWS signs in protest. I'll bring my coin mask for example. We meet at 3:00 at 60 wall street for a short teach-in, then head over to touch base with the park, maybe doing a people's mic to get more peopleto join us. Once at the Museums, we'll have a short GA with an opening statement, then people can get on stack and speak out their mind using people's mic.
Here are things we'll need:
-a one page info sheet about how museums generally and the ones we are going to specifically are pyramid schemes of the 1% Paul- you wrote an email that has lots of info..I have turned it into a shared google Doc called Occupy Museums-someone to handle the twitter feed-OWS press -everyone bring a piece of their art to proudly display
Day 1: Revised Schedule:
3:00 Meet at Liberty Park
Teach-in about the museums we are going to occupy
4:30 Livestream- read document in front of 5000 viewers.
Occupy the 4 train
5:00 Occupy MoMA
hours: 10:30-5:30
11 W 53rd street New York, NY
Occupy the M3 Bus
6:00 Occupy Frick Collection
hours: 10:00-6 PM
1 East 70th Street, New York, NY
Occupy the 6 train
7:00 Occupy New Museum
Thursdays 6-8 free
235 bowery
OCCUPY MUSEUMS, occupennial, performance in activism, interventions, participation, protests Wednesday, October 19, 2011 at 12:00AM hi all, had a really interesting conversation today on the subway home as I was leaving OWS with a woman who worked for a bank on wall st. and she was open to having a dialogue, but really felt like she and her co-workers were taking the hit for the 1% even tho she was a divorced mom who had to work her way up from nothing. We tried to explain to her not to take it personally, that it was the structure of the system that was the issue but people of her ilk are very goal oriented and really was hoping to hear our demands and proposed solutions. I invited her down there to discuss and told her how important it was that she participates in the process and see for herself what is happening, rather than taking what the media says at face value....anyway, its just these types of dialogues that I think is what's best about this movement. It was an uplifting moment for all of us just to communicate.
In other news, my friend in Canada posted this amazing poem/song on facebook, and I told her there was a web archive for poetry, so Paul, or someone else out there if u have a spare moment, can you upload this, and maybe send me a link, so I can tell her it on line?
Thanks so much!
O
>
occupennial, occupy wall street, poetry in poetry, stories Monday, October 17, 2011 at 11:56AM Fourth in a series, this mural will boldly tag Wall Street with a large-scale, graphic message, "iheart $"
The project can use help with the following:
* scouting and sourcing of an appropriate public wall
* getting approval/sanction of wall use
* installing and painting the piece
* documentation in form of time lapse film and photography
* communications outreach upon completion
To get involved, please email [sic]: info-at-iheart.org
For past example of work, please see:
http://iheart.org/iheartpublic002.html
http://iheart.org/iheartpublic003.html
Monday, October 17, 2011 at 11:33AM Using designs made by volunteer artists, the OWS Screenprinting Lab has produced literally thousands of graphics, printed for free on anything the people bring us including the shirts off of people's backs. Materials are all donation funded and the lab is staffed by a rotating group of volunteer printers who, in turn, train new volunteers to become printmakers. The effort has grown from sporadic printing sessions to a constant flow of prints aimed at spreading the word about the Occupy movement. These images are literally circling the globe - reaching far away geographies from Brazil to China.
For documentation visit: http://www.flickr.com/groups/ows_screenprinting/pool/
Monday, October 17, 2011 at 12:33AM Hopefully the movement has gained too much momentum to stop, and Times Square was an unbelievable testament to what is going on. It was packed from top to bottom, side to side, spirits were high, and the larger movements happening around the world were felt due to the huge tickers and tv screens brazenly surrounding us with messages and scenes of change, but also subtly by the sense of camaraderie and unity as people took the streets together and socially networked for the common good in flesh and blood for the first time in what seems like a decade. It was a moment I will never forget, and hopefully one that I will be proud to tell my grandchildren that I was present for. I was at the 46th st corner where things went sour, but I have to say that even there things went without major incident regarding the scope of what was happening. I would like to commend the officers in the NYPD who have been serving the 99% and are supportive, nice, and courteous. Those serving other interests will get what they deserve ultimately. The people united will never be defeated!
OCCUPY EVERYTHING.
-Shane Kennedy
Sunday, October 16, 2011 at 12:51AM September 24–October 16
Thursday–Sunday, 12–8 PM
The Historic Essex Street Market
80 Essex Street
Southeast corner of Essex and Delancey Streets, NYC
occupy wall street, ows, poster, signage in events, exhibition Saturday, October 15, 2011 at 01:57PM 
PAUL McLEAN
CLICK THE IMAGE TO LEARN MORE ABOUT OCCUPENNIAL OCCU-GANDA.
YOU CAN DOWNLOAD THIS POSTER FREE HERE.
Ooccupennial, occu-ganda, occu-graphics, occupy wall street in DOWNLOADS, graphics 
