In the 1950s and 60s, Andy Warhol disrupted the art world and cleverly subverted the art market by appropriating techniques of mass-production and applying those methods to his work. Kreëmart, inspired by this idea, lends this time to UK-based creative Daniel Lismore to expand on the notion of the spectacle and the relationship between production and consumption. Edible tongue tattoos featuring Lismore’s face will be distributed throughout the many art fairs of Miami Art Week. 


The tattoos are hand-stamped with edible ink onto store-bought candy, recontextualizing a mass-produced consumable item into a unique and ephemeral art object. Within the setting of an art fair, the gesture of distributing art for free becomes subversive. However, in the spirit of the spectacle of Miami Art Week, the tattoos will only be given to those who engage Lismore, effectively transforming themselves from spectators into participants, and then consumers. In order to see or document the tattoo, participants will be forced to stick their tongues out, another gesture that is subversive in its humorous and absurd presentation.


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