CC: Great question. There's been a lot of talk about post-internet art, but not much regarding post-internet curating. In your own texts, you've mentioned the "specter of the internet" - its traces - as a key identifier of the post-internet condition, but I would simply state that post-internet is an internet state of mind. I guess we can characterize it as being dispersed, referential and bringing new attention to materiality through its very negation of it. The internet has amped up the rate at which we communicate through speech, text, images and video. Think about art announcement services like e-flux, social networks that show us images and videos from around the world like Facebook, Instagram and Twitter. Guy Debord famously wrote that, "everything that was directly lived has moved away into representation." This has never been more true, and it’s why I’ve invited one of the foremost observers of this condition, Douglas Coupland, as a participant. In the arts, when we say we've seen a show or know it, what we often mean is that we've seen online images of it. Draft Urbanism takes this condition, and tries to force through an exhibition experience that cannot possibly be photographed or represented—you had to be there. With more than 30 billboards, bus shelters, LED screens and posters around town, there will not be any one image that could capture the exhibition. In a sense, the city becomes one giant exhibition. In fact, we're putting museum labels throughout downtown locations where there’s a direct view of the work, and we're also working with a Denver historian to put museum labels on buildings and locations in downtown that deal directly with our theme—which is, in short, urbanism and beer.