“We’re involved in a real revolution”

This article in Jet magazine discusses the appropriation of Black revolutionary style by white fashion designers, featuring Jae Jarrell’s Revolutionary Suit. The suit takes the shape of a fancy Chanel two-piece, with the addition of a colorful bandolier (a pocketed belt for holding ammunition). Instead of bullets, however, it carries a set of brightly painted sticks, which resemble oil pastels, suggesting that art and creativity can be fierce weapons against racism and injustice.

“It was our people, and everything was on time.”

As a fashion designer, Jae Jarrell embodied the ideals of AFRICOBRA through clothing. Urban Wall Suit and Ebony Family (both on view in How to Remain Human) appeared in the first AFRICOBRA exhibition, at the Studio Museum in Harlem in 1970. Urban Wall Suit drew inspiration from the graffiti and concert posters that filled the streets of Chicago, where brick walls became message boards for the community.

PLEASE by L’Amour Bleu

Incredible noise-sex band L’Amour Bleu set the tone for the night with an all-out, table dancing performance. Other performances by Benedetto’s students and frequent collaborators took place throughout the evening. The artist directed all aspects of the project, from designing the invitations and writing the press release, to providing special napkins and "Bored Phallic Class" lip balm for guests.  

Academia Rhymes With Macademia

After Cara Benedetto kicked things off with her welcome speech: resignation spank, Melissa Ragona, Associate Professor of Visual Culture and Critical Theory delivered Commence A Dress, a hilarious rant set to a powerpoint about the pitfalls and exploitations of academia.

Piggy Did Not Consent

At 7pm on Thursday, June 11, guests began arriving at the security entrance to MOCA Cleveland on Mayfield Road. They were greeted by guides who brought them to the Gund Commons, after first being given a “safe word” by MOCA security staff. One guest said, “It is impossible to tell who is a part of the performance and who is not.” General Sisters, artist-caterers from Pittsburgh, provided the food with recipes built around their garden, served on their reclining bodies. Letterpress napkins bear the musings of a young Dom.


Cara Benedetto (1979, Wausau, WI), lives and works in Pittsburgh. She works across performance, images, and writing. Her practice explores vulnerability, and the giving and taking away of power. Often, she will take up familiar languages and structures from such things as romance novels, fundraisers, or advertisements. These forms are then shifted, mutated, and destabilized.