Masquerade now hangs in The @ToledoMuseum. But unlike a painting, Masquerade holds within itself: a gathering of people in the network and systems to connect us. The piece is not  "A" piece. It is every Mask, every dot, every observation made and, through a new layer, every one yet to be made. I feel both stupidly lucky and genuinely honored to bring everyone who has given energy to Luci out of the network and into a place that has honored my work and the work of so many other artists I deeply admire with immense and precise care. This absurd world of masks and monkeys I love so much because of what has been shared between people through it has had my love compound through the care of people. To help to protect and preserve a story bigger than my own, not unlike what has taken place atop its surface. Much as the systems of participation echoed the systems of its creation, so too does its curation and cultivation by others help it grow. Masquerade now hangs in a museum, but it hangs alongside a cadre of digital art's giants in an exhibition titled “Infinite Images,” which sits centered inside a museum filled with the giants of art history itself. For this to happen requires a lattice frequency of care: not as a feeling, but as something intensely actionable. Care—demonstrated through sacrifice and skin in the game. It pours out of the dark blue diamond walls and the work atop them and into our orange room; it bleeds from every installation, overflowing from each and every artist, and the space between each of us within. Care is revealed through a curator who helped me understand my own work more but also learn what connects me backwards to the shoulders I stand on. @juliaxgulia found and presented our systems not as separate worlds, but as part of one system of life—all while bringing into life of a higher order: her first child. Care extended through a director, Adam Levine, who pushed for something quite radical and got his hands dirty to allow this show to even exist. The Museum and the people who keep its engine moving treated our new as sacred as their old. They did so not to onboard, but to remain. A portal that lifts up a movement happening in the network by seeing the need to connect our nodes rather than relegate or shut the gate behind. Doing this required the patronage of Alan Howard, channeled through the cataloging brilliance of Martina Negro, and the willingness of high‑order patronage to become a cooperative network rather than an adversarial one. In that cooperation is where Masquerade’s place in the exhibition came through @Kanbas_. A throughline drawn between the roles of our ecosystem. Of what can be built between us if we see each other as one ecosystem, both different and essential. An exhibition filled with cutting‑edge technology and masterful presentation does not exist with only artists or curators or museums; it is enabled through a network of generous patronage and curiosity. Kanbas helped me take what began as the orange room with a digital confessional that is Rachel and I’s studio in New York, that last year became The Monument Game boat‑dock exhibition in Venice, Italy through the genius of @scrptdfntsy and support of @kukulabanze, and evolve it to sit in a Museum in a way that does not just exhibit the work, but educates and invites people to come closer who may not know any of this even exists. Rather than just house the singular work, Kanbas and Amanda cared to share the network of 613 Masks and the people who wear them with it. Care came through my team who built Masquerade with me in @niftygateway. Chrisly, Ashlin, Bob, Nirali, Tara, and all who pitched in make our interface and systems accessible to a whole new audience; to build infrastructure and enable thousands of people who have never touched the blockchain to create a wallet just by leaving an Observation atop the Masquerade is more than a feature: it is spreading the network rather than closing its gates. I feel so lucky to have such a tremendous team of people to think not as a marketplace, but as stewards to present what we have been building well and improve it with time and circumstance. This patronage enabled artistry within artistry to thrive, through a masterful exhibition design led by @readyletsgo, technology and fabrication partners through TCI in Greg and Anthony, Jack with projections, and fabricators through Bednark. With me is my brilliant engineer, Alex Borre, who has broken apart all of this alongside me and helped me grow as an artist. By my side has been @joeyldotcom, the eternal vibe check of taste, restraint, and precision - the finest eye and mind I know, and the relentless, perpetual support of @redbeardnft who championed and willed this exhibition into existence more than anyone. No matter how much “this is how we build” has looped and human‑centipeded in on itself through cynical interpretations, in this case, it truly is, and his hands are all over not just my contribution, but many others in this show, as well as in the exhibition’s foundation itself. But in the end: care has been given in the highest order by my wife @MrsRachelSpratt who has done what all new great mothers do and given life through tremendous exertion. We did not take a break after Masquerade, because it just immediately became Masquerade IRL. She has given to me, given to our daughter Syla, given to our tribe of Masks and Skulls, to this exhibition: everything. What is left after one gives all away, no matter how sweetly, can be a hollowing of self or, if met well before a break, a shedding of self. To sit in this beautiful room together, within an exhibition this magnificent, inside a building this rich with history and love of humanity, and have so much care be put in to match hers by this network around us on and offline, I got to sit in pride because I knew this very real moment for me, that began so alone and has become quite collective, would simply, unequivocally, never even come close to existing without her. So much of my life has been defined by solitude. I was not expecting having my work presented like this to move me so much. I thought it would be more of a feather in the cap or rather beautiful box to check. But it isn't that at all. It's connection to others. I fell in love with the artists' work that sits alongside my own. I saw @dmitricherniak's Ringers I’ve seen a thousand times, but saw them again in a way my daughter could visualize her own curiosity about the world—decisions in how these were shared served a higher purpose: to communicate. I saw @REAS as someone not just as a pioneer, but as someone more real—who, like my wife, cut part of himself out and set it aside to see what others could create. I saw @operator_______ not as slick performers of the code, but as arbiters of freedom. I saw invitations to see the humanity in code in dozens of directions, and gratitude to sit even close to any of it. Talent. Sweat. Blood. Skin in the game. The artists pushed. The fabricators pushed. The docents pushed. Not one of us is like the other and no template was ever to be made to try to force otherwise. On September 12th, I will be inviting every holder of Luci: Masks, Players, Council, to come out to a small town in Ohio and leave a bit of themselves behind and get a very deep look into the world I am trying to build in the process. More on that very soon, but should you be able to come, know that there is much to care about beyond what I’ve built within this exhibition—and I hope you will fall in love with the rest of these infinite worlds as I have. We all know we aren't supposed to touch the paintings in a museum. But my daughter Syla touched the illuminated lightbox of Masquerade that she unknowingly stars in at the center of, and I smiled. Because she's not touching a world of divine objects susceptible to fingerprints and pretense; she's touching a display. A front‑end stand‑in representation for the network of humanity underneath. A place where light, code, instructions, a design that rhymes across all things has formed a very unlikely but very real gathering of strangers over the last few years to create together. I feel lucky for her to grow up surrounded by people who create and who care.