Loading the Museum publication…

Acquisition programs

Keys and Gates

This program record gives the scope and terms for the acquisitions it produces. Each work keeps its own status in the Museum's record.

Works acquired or selected through this program

A lone figure stands before a tall blue patterned gate as sunlight casts long geometric shadows across a stone hall. — Take the Key!Selected through an acquisition program; unmintedSelected and unminted. Acquisition and accession remain pending.

An elevated view shows blurred buses and traffic around a sharply defined person seated in a small blue tub or boat on the roadway. — the Artist in the Open SeaSelected through an acquisition program; unmintedSelected and unminted. Acquisition and accession remain pending.

A rider on a rearing white horse rises above a herd of brown horses on a wide plain beneath hazy mountains. — Managed FreedomSelected through an acquisition program; unmintedSelected and unminted. Acquisition and accession remain pending.

Two silhouetted figures walk toward daylight at the end of a rough stone passage. — No Key, Only LightSelected through an acquisition program; unmintedSelected and unminted. Acquisition and accession remain pending.

A long weathered concrete barrier with faded graffiti divides a pale sky from a dark foreground. — Residual BarrierSelected through an acquisition program; unmintedSelected and unminted. Acquisition and accession remain pending.

A shirtless person opens a refrigerator covered in colorful magnets in a kitchen. — The Hostile GateSelected through an acquisition program; unmintedSelected and unminted. Acquisition and accession remain pending.

A turquoise mountain lake is bordered by evergreen forest and a jagged, snow-dusted mountain range. — the cost of openSelected through an acquisition program; unmintedSelected and unminted. Acquisition and accession remain pending.

A vertical aerial view shows dense residential roofs meeting an ordered palm plantation along a sharp boundary. — Dichotomy.Selected through an acquisition program; unmintedSelected and unminted. Acquisition and accession remain pending.

Black-and-white industrial buildings sit beneath a cloudy sky, with the words NOW IS OUR TIME painted on a wall. — Now Is Our TimeSelected through an acquisition program; unmintedSelected and unminted. Acquisition and accession remain pending.

A bare torso emerges from folds of black fabric against a nearly black background. — CheckpointSelected through an acquisition program; unmintedSelected and unminted. Acquisition and accession remain pending.

A nude figure reclines on an ornate gold chair, wearing bright sandals, with one hand lowering a small dark booklet or document toward the floor; no text is readable on it. — Sina Beizavi in BrazilSelected through an acquisition program; unmintedSelected and unminted. Acquisition and accession remain pending.

A person stands framed by successive arched doorways inside a heavily damaged building. — RustedSelected through an acquisition program; unmintedSelected and unminted. Acquisition and accession remain pending.

Black keyboard keys spell NO / WHERE / TU on a white surface, while the Esc key sits apart below beside a small ant. — Nowhere To Esc.Selected through an acquisition program; unmintedSelected and unminted. Acquisition and accession remain pending.

The camera looks upward through a dark, fluted circular structure toward a small opening of sky. — Morning GlorySelected through an acquisition program; unmintedSelected and unminted. Acquisition and accession remain pending.

Two people lean from the windows of a weathered teal train; one wears a bright orange head covering. — মুক্তিযুদ্ধ - Fight for FreedomSelected through an acquisition program; unmintedSelected and unminted. Acquisition and accession remain pending.

A small white house with a red roof stands on a hill beneath a starry sky, beyond a lit gate with a posted sign and a silhouetted figure. — No AccessSelected through an acquisition program; unmintedSelected and unminted. Acquisition and accession remain pending.

accessibility

{
  "program_id": "6529NM-AP-01",
  "status": "constructed_visual_description_reviewed",
  "record_control": {
    "revision": 5,
    "record_status": "reviewed",
    "constructor": {
      "actor_id": "codex-task:network-museum-exhibition-media-2026-08-11",
      "role": "constructor",
      "constructed_at": "2026-08-11T21:56:04Z"
    },
    "review": {
      "reviewer_id": "codex-review:keys-gates-accessibility-2026-08-11-01",
      "role": "reviewer",
      "reviewed_at": "2026-08-11T22:44:52.647Z",
      "outcome": "approved_with_corrections",
      "finding": "All sixteen descriptions approved after four objective-language and visible-text corrections; no unsafe contextual-display concern found."
    }
  },
  "items": [
    {
      "record_id": "6529NM-AP-01-OUT-001",
      "alt_text": "A lone figure stands before a tall blue patterned gate as sunlight casts long geometric shadows across a stone hall.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-002",
      "alt_text": "An elevated view shows blurred buses and traffic around a sharply defined person seated in a small blue tub or boat on the roadway.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-003",
      "alt_text": "A rider on a rearing white horse rises above a herd of brown horses on a wide plain beneath hazy mountains.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-004",
      "alt_text": "Two silhouetted figures walk toward daylight at the end of a rough stone passage.",
      "public_widths": [640]
    },
    {
      "record_id": "6529NM-AP-01-OUT-005",
      "alt_text": "A long weathered concrete barrier with faded graffiti divides a pale sky from a dark foreground.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-006",
      "alt_text": "A shirtless person opens a refrigerator covered in colorful magnets in a kitchen.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-007",
      "alt_text": "A turquoise mountain lake is bordered by evergreen forest and a jagged, snow-dusted mountain range.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-008",
      "alt_text": "A vertical aerial view shows dense residential roofs meeting an ordered palm plantation along a sharp boundary.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-009",
      "alt_text": "Black-and-white industrial buildings sit beneath a cloudy sky, with the words NOW IS OUR TIME painted on a wall.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-010",
      "alt_text": "A bare torso emerges from folds of black fabric against a nearly black background.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-011",
      "alt_text": "A nude figure reclines on an ornate gold chair, wearing bright sandals, with one hand lowering a small dark booklet or document toward the floor; no text is readable on it.",
      "public_widths": [640]
    },
    {
      "record_id": "6529NM-AP-01-OUT-012",
      "alt_text": "A person stands framed by successive arched doorways inside a heavily damaged building.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-013",
      "alt_text": "Black keyboard keys spell NO / WHERE / TU on a white surface, while the Esc key sits apart below beside a small ant.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-014",
      "alt_text": "The camera looks upward through a dark, fluted circular structure toward a small opening of sky.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-015",
      "alt_text": "Two people lean from the windows of a weathered teal train; one wears a bright orange head covering.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-016",
      "alt_text": "A small white house with a red roof stands on a hill beneath a starry sky, beyond a lit gate with a posted sign and a silhouetted figure.",
      "public_widths": [640, 1280, 2400]
    }
  ]
}

Keys and Gates — independent accessibility review

# Keys and Gates — independent accessibility review

**Record ID:** `6529NM-AP-01-MEDIA-ACCESSIBILITY-2026-08-11-010`

**Reviewed:** 11 August 2026 at 22:44:52.647 UTC

**Reviewer:** `codex-review:keys-gates-accessibility-2026-08-11-01`

**Outcome:** approved with corrections
**Supersedes for current accessibility status:** `accessibility-amendment-2026-08-08-003.md`

The reviewer independently compared every visual description with the active
640-pixel presentation copy, verified all sixteen derivative hashes and pixel
dimensions against the media manifest, and reviewed the public-width and
display-authority boundaries.

Four descriptions were corrected before approval:

1. OUT-002 uses “person” rather than “performer” and records the blue vessel.
2. OUT-006 uses “person” rather than assigning gender.
3. OUT-013 preserves the letters visibly present in the artwork, `TU`, rather
   than silently normalizing them to the title's “To.”
4. OUT-016 describes a posted sign and silhouetted figure without assigning a
   warning function or questioning whether the figure is a person.

The review found no unsafe contextual-display concern. OUT-004, OUT-010, and
OUT-011 retain concise content and rights notes. Their descriptions do not name
subjects, infer age or consent, publish sensitive biography, transcribe the
pictured document, or disclose a private location. OUT-004 and OUT-011 remain
limited to 640 pixels. The review authorizes description and presentation use
only within the existing contextual display authority; it grants no download,
reuse, title, custody, mint, acquisition, accession, or Collection status.

The current accessibility state is
`constructed_visual_description_reviewed` for all sixteen Works.

arsonic

Arsonic is a public pseudonymous artist and builder associated with Web3, meme-oriented, and generative-art communities. The artist’s public X profile and 6529 profile establish that digital-art context; conventional photography biography and legal identity remain open. The public credit remains the handle.

Initial profile: Public sources establish the pseudonymous digital-art context; photography-specific biography is sparse.

In Nowhere To Esc., Arsonic translates a software command into a tabletop still life. Black keyboard keys spell “NO / WHERE / TO,” with an Esc key separated below and a small ant beside it. The work’s conceptual force comes from the mismatch between a clearly labelled exit and a subject too small to use it. The image extends a digital practice into physical scale, language, and staged photographic comedy.

Selected work

Nowhere To Esc.

Further research: The handle’s digital-art context is established; the photographic workflow, materials, and preferred authority form remain to be confirmed.

Sources: 6529 profile, artist X profile. The Fingerprints DAO interview with Guillaume (Zeblocks) is an indirect Web3-context source, not evidence about arsonic’s identity or practice.

Browse

Curated Acquisition · Research Publication

Artem Humilevskiy (GIANT)

Public artist sources use Artem Humilevskiy for the Ukrainian photographer associated with the artist identity GIANT. His artist site, the Global Peace Photo Award profile, and Galerie Sechs place him in Mykolaiv, identify a 1986 birth year, and discuss the pandemic-era Giant self-portrait project. The submitted statement spells the name Artem Humilevskyi; the Museum preserves that spelling as raw source text and uses Humilevskiy for this public profile pending direct confirmation. The project addresses body image, vulnerability, self-acceptance, prejudice, and resilience through the artist’s own body and domestic environments.

In The Hostile Gate, Humilevskiy opens a refrigerator while his shirtless body fills the foreground. The warm interior light and colourful magnets make the appliance familiar, but its sparse contents and the force of the gesture turn it into a threshold between appetite, scarcity, and bodily judgement. The image belongs to the project’s direct self-portrait language: the domestic object is a gate, and the artist’s body is both witness and subject.

Selected work

The Hostile Gate

Further research: The GIANT/Artem Humilevskiy public association and broad project context are established; the submitted spelling, series position, self-consent scope, and final rights terms remain to be confirmed.

Sources: artist site, Global Peace Photo Award, Galerie Sechs.

Browse

Curated Acquisition · Research Publication

Gül Yıldız (GulYildiz)

The selected submission is signed “Gül Yıldız” under the GulYildiz handle. The Fujifilm public profile uses the same public professional name and describes photography and videography training, an engineering background, AFIAP recognition, Fujifilm X-Photographer affiliation, and the Artrospektif Photography Atelier. The selected photograph was submitted from Cologne.

Her photographic language is attentive to architecture, framing, filtered light, and the way a human figure is scaled by a built environment. In Take the Key!, a solitary figure stands before a patterned blue screen inside a stone hall. The screen turns daylight into a sequence of bands and makes the threshold a problem of visibility before it becomes a question of movement. The artist connects the image to knowledge, authority, digital sovereignty, Web3 ownership, and self-custody; those meanings remain part of the artist’s account.

Selected work

Take the Key!

Further research: The signed submission and Fujifilm profile support the public name/handle association; the work’s venue, date, figure consent, and final rights instrument remain to be confirmed.

Sources: Fujifilm profile, 6529 profile, LinkedIn profile.

Browse

Curated Acquisition · Research Publication

Hugo Faz (HugoFaz)

Hugo Faz is a São Paulo–based photographer, filmmaker, performance artist, and image-maker. His practice moves between directed photography, self-portraiture, performance, and moving image, using the body as a site where public rules and private self-expression meet. The artist site and LensCulture profile describe an artist interested in censorship, sexuality, social identity, and the boundary between public and private space.

Faz’s photographs often stage a situation as much as they record one. A body is placed into a charged setting, then held against the surrounding systems of speed, spectatorship, or permission. Long exposure, staged gesture, theatrical interiors, costume, and the deliberate display or concealment of the body become formal tools. Projects such as 366 NuDays of Hugo and 100 NUDE Shoots establish a sustained engagement with self-representation and the social body; public professional profiles also connect the practice to performance and film.

The two selected works show how that practice moves from the city to the portrait room. In the Artist in the Open Sea, a performer in a white tub or boat holds a precise, vulnerable shape inside the blurred speed of São Paulo traffic. The image places transit and artistic autonomy in the same field. In Sina Beizavi in Brazil, the sitter reclines on an ornate chair while holding a small booklet or document. The theatrical pose and the object’s presence bring welcome, visibility, and administrative proof into the same frame. The work page uses “the sitter”; personal biography and identifiers remain outside the artist profile.

Faz’s public professional context is documented through his artist site, LensCulture profile, and 6529 identity page. The Museum uses those sources for practice and geography while retaining the artist’s preferred public credit as an open confirmation point.

Selected works

the Artist in the Open Sea · Sina Beizavi in Brazil

Sources: artist site, LensCulture profile, 6529 profile.

Browse

Curated Acquisition · Research Publication

IKERTJE (ikertje)

IKERTJE’s public biography describes a designer who has worked with photography for more than twenty years. The practice spans portrait, street, architectural, and minimalist photography, with attention to framing, colour, and overlooked detail. Public display variants include ikertje, IKERTJE, and IKΞRTJΞ.

In Residual Barrier, the artist’s interest in architecture and overlooked surfaces becomes a close study of weathered concrete, construction seams, graffiti, and a dark coping line beneath a pale sky. The submission places the photograph in Berlin in 2011 and describes a barrier whose practical function has weakened while its memory continues to shape behaviour. The work’s restraint—one wall, one horizontal line, layers of marks—lets residue become the subject.

Selected work

Residual Barrier

Further research: The public practice is well documented; the preferred display form, Berlin location, visible-mark permissions, and final CC0 terms remain to be confirmed.

Sources: artist biography, Linktree.

Browse

Curated Acquisition · Research Publication

intrepid

The selected artist works publicly under the pseudonym intrepid. The retained 6529 profile and submission establish a documentary family-photography context shaped by travel, confinement, and a historic site. The public identity remains handle-based; no reliable biography or secure legal identity bridge has been located in the sources reviewed for this edition.

Initial profile: The public credit is handle-based, with the selected submission as the main account of the practice.

The artist’s practice, as represented by this work, is documentary family photography shaped by travel, confinement, and the charged architecture of a historic site. Two silhouetted figures move through Fort Frederick toward a blown-out opening of daylight. The image holds a private return to land against the fort’s public histories of defence and revolution; the figures’ partial anonymity is part of the photograph’s restraint.

Selected work

No Key, Only Light

Further research: Intrepid remains the safe public credit; the account relationship, date, figures’ privacy boundary, and guardian-consent scope remain to be confirmed.

Sources: 6529 profile. The selected submission remains the direct source for the work account.

Browse

Curated Acquisition · Research Publication

Minalisa

On her public Farcaster profile, Minalisa identifies as a self-taught portrait photographer whose stated aim is to convey the feelings of subjects. The selected submission names Mina Rahmani, and the Museum keeps that name as a submitted authority form while leaving legal identity unnormalized. The artist’s geography is withheld in the work record.

Initial profile: The public record supports the handle-based portrait practice; identity and geography remain open.

In Checkpoint, a bare torso emerges from black fabric while the head remains concealed. The image makes exposure and privacy simultaneous. It belongs to a portrait practice concerned with the emotional charge of the subject and turns the body into a formal checkpoint shaped by clothing, movement, and the gaze of others. The artist’s political interpretation remains attributed to the submission.

Selected work

Checkpoint

Further research: The handle-based practice is established; the relationship to Mina Rahmani, subject status, safe geography, and publication permissions remain to be confirmed.

Sources: Farcaster profile.

Browse

Curated Acquisition · Research Publication

Nasim Ghanizadeh (nasimghanizadeh)

Nasim Ghanizadeh publicly identifies as a photographer and video artist on the public Linktree, which connects the handle to photography and digital-art platforms. The Julien Sunyé essay describes a practice that combines photography and poetry and includes psychologically charged imagery; the Bideodromo 2019 catalogue also lists video work. The public sources establish this practice context; fuller biography, legal identity, education, and career history remain open.

In Managed Freedom, Ghanizadeh photographs a rider rising on a rearing white horse above a crowded herd. The submission places the scene in Kayseri, Turkey; the precise site remains unverified. The open horizon is countered by training, hierarchy, and the compressed movement of the animals. The artist connects the image to migration, refusal, shelter, and negotiated freedom. Those themes extend the practice context; the submission’s interpretation remains attributed.

Selected work

Managed Freedom

Further research: The photographer/video-artist practice is supported; the preferred biography, pronouns, site, date, rider relationship, and sensitive contextual wording remain to be confirmed.

Sources: Linktree, Bluesky profile, Julien Sunyé essay, Bideodromo catalogue.

Browse

Curated Acquisition · Research Publication

pandelic

The selected artist is credited as pandelic in the Wave record. Public materials associated with that handle describe work across composition, piano, improvisation, photography, and immersive storytelling. An artist biography describes “Music Postcards” as a combination of photography, writing, and composition, placing the camera within a broader practice of travel, listening, and multisensory narrative. The name attached to those materials is not adopted here as an authority form until its relationship to the selected handle is confirmed.

In Now Is Our Time, Pan photographs Berlin’s RAW-Gelände in high-contrast black and white. Industrial buildings, barred openings, lamps, and layers of graffiti frame a painted declaration. The work joins photographic observation to a musician’s sensitivity to rhythm and inscription: the slogan appears as a rhythmic mark on a site whose uses and ownership have changed. The artist’s practice context supports the image’s attention to place, inscription, and atmosphere; graffiti authorship remains open.

Selected work

Now Is Our Time

Further research: The multidisciplinary practice is well supported; the preferred credit, exact RAW location, visible-mark rights, and site permissions remain to be confirmed.

Sources: artist site, 15 Questions interview, catalog profile, RAW official history.

Browse

Curated Acquisition · Research Publication

priyanka

The selected artist is credited as priyanka in the Wave record. A public interview associated with that handle describes a move from Indian wedding photography toward fine-art and onchain photography and places the photographer in Alberta, Canada, after growing up in India. A public Farcaster profile describes a photographer and generative-art learner. The personal name used by those sources is not adopted here as an authority form until its relationship to the selected handle is confirmed.

In the cost of open, Patel photographs Moraine Lake as a turquoise expanse framed by evergreen forest and the Valley of the Ten Peaks. The image belongs to the tradition of sublime landscape photography, but its title redirects the view toward the systems that now mediate access: reservation, shuttle, capacity, and time. The landscape looks open; the journey is organized.

Selected work

the cost of open

Further research: The practice and Alberta association are supported; the viewpoint, date, preferred name, source conditions, and final rights terms remain to be confirmed.

Sources: Farcaster profile, public interview, and Parks Canada visitor guidance for the current Moraine Lake access policy.

Browse

Curated Acquisition · Research Publication

Rakesh Pulapa (Rakesh)

Rakesh Pulapa is an Indian travel and aerial photographer whose artist biography describes a computer-science background and a transition from hobby photography into professional work. The Condé Nast Traveller interview and public regional profile associate him with Rajahmundry/Rajamahendravaram and with drone, nature, and travel photography. One independent interview uses the expanded name Rakesh Kiran Pulapa; the Museum preserves that as a source variant and leaves the public authority form open.

In Dichotomy., Pulapa’s aerial viewpoint divides dense homes from an ordered field of palms. The image’s near-ruler-straight edge turns a lived environment into a diagram of land use, security, and property. The submission describes the ordered side as a jail facility and the other as a residential neighbourhood; the photograph itself leaves the facility unidentified, allowing the formal boundary to remain visible while the claim stays attributed.

Selected work

Dichotomy.

Further research: The travel and aerial practice is supported; the facility, flight authorization, safe location wording, source metadata, and preferred authority form remain to be confirmed.

Sources: artist biography, Condé Nast Traveller, The Hans India, public interview.

Browse

Curated Acquisition · Research Publication

Shams Pranto (shamspranto)

Shams Pranto is described in the retained 6529 profile and 121Clicks profile as a Bangladesh-focused photographer attentive to ordinary life, solitude, and social observation. The 121Clicks source identifies Shams Nayeem Pranto; the bridge between that public name and the selected handle remains to be confirmed.

In মুক্তিযুদ্ধ - Fight for Freedom, two women lean from separate windows of a weathered teal train. Patterned and orange head coverings, partial faces, the carriage wall, and a torn poster create a layered image of transit and historical memory. The title invokes the 1971 Liberation War, while the photograph remains a contemporary collage of people and a train. Consent and poster provenance remain on the work’s rights record.

Selected work

مুক্তিযুদ্ধ - Fight for Freedom

Further research: The Bangladesh-focused practice is well documented; the preferred display form, depicted-person permissions, collage sources, and title punctuation remain to be confirmed.

Sources: 6529 profile, 121Clicks profile, Liberation War Museum.

Browse

Curated Acquisition · Research Publication

Teyhu

Teyhu’s public Linktree identifies a photographer and connects the handle to a fine-art, 1/1 photographic practice that includes self-portraiture. No reliable independent biography, legal name, city, or career history has been located.

Initial profile: The Linktree and selected submission are the primary public record for this practice.

In Rusted, Teyhu places a distant figure with keys inside a sequence of damaged rooms. Broken plaster, exposed brick, arched windows, rubble, and shadow turn a building into a system of exhausted passages. The submission identifies the image as a self-portrait made in Iran and describes the keys as rusted promises of entry; the work’s formal attention to ruin and distance carries that reading while the site remains unidentified.

Selected work

Rusted

Further research: The handle-based practice is established; preferred name and pronouns, safe site wording, likeness status, and final rights terms remain to be confirmed.

Sources: Linktree.

Browse

Curated Acquisition · Research Publication

Veerendra

The submission names Veerendra Jillella and describes a photographic practice built from handmade miniatures, focus stacking, and night photography. No reliable public biography or independent identity bridge has been located in the sources reviewed for this edition; contextual public leads remain separate from a verified name bridge.

Initial profile: The selected submission is the primary practice source; independent biography is unavailable in the reviewed public record.

In No Access, a small white house with a red roof sits on a grassy rise beneath stars. A path stops at a fenced gate and warning sign, where a warm-lit silhouette stands outside. The work’s miniature scale makes a modest barrier carry the full drama of exclusion. Focus stacking and the handmade scene turn access into something fabricated, tactile, and carefully controlled.

Selected work

No Access

Further research: The submission establishes a miniature and focus-stacking practice; the public identity bridge, materials, figure status, source sequence, and final rights terms remain to be confirmed.

Sources: 6529 collected profile, The Talented Indian, Chaibisket photographer list.

Browse

Curated Acquisition · Research Publication

Zoku

The 6529 profile confirms the artist handle, and The Line listing places the practice within conceptual digital art and meme/glitch communities. No reliable independent biography, legal identity, education, or career history has been located.

Initial profile: Public sources establish the handle and conceptual digital-art context; biographical detail is sparse.

In Morning Glory, Zoku looks upward into a dark, fluted circular spillway. Water radiates through the hidden centre while a small opening of sky remains visible. The selected work extends the artist’s conceptual interest in systems into photography: hydraulic infrastructure becomes a funnel, aperture, and engineered gate. The submission identifies San Roque Dam in Córdoba, Argentina, and describes automatic regulation; public technical sources support the site and a 1944 dam phase while qualifying the claim of wholly human-independent operation.

Selected work

Morning Glory

Further research: The handle and conceptual digital-art context are established; the biography, spillway component, site permission, technical wording, and final rights terms remain to be confirmed.

Sources: 6529 profile, The Line profile, Argentine dam inventory, APRHI operations note.

Browse

Curated Acquisition · Research Publication

Keys and Gates — context register

# Keys and Gates — context register

These short context notes provide public, source-graded background for selected works. They are not claims that a work documents the whole history of a site, and they do not replace the artist’s supplied caption. A context is included only where a public institutional source supports the limited proposition stated.

## Fort Frederick, Grenada — OUT-004

The Grenada Tourism Authority dates Fort Frederick’s construction to a French start in 1779 and English completion in 1783, and describes its strategic position and later revolutionary use. The site’s military history is relevant to the submitted image’s architecture of confinement and exit. It does not independently verify the artist’s family narrative, the date discrepancy between 2020 and 2021, or the artist’s represented consent coverage. Sources: [Grenada Tourism Authority](https://www.puregrenada.com/fort-frederick/), [UNESCO tentative-list entry](https://whc.unesco.org/en/tentativelists/1926/).

## Berlin Wall / *Residual Barrier* — OUT-005

The Berlin Wall Memorial and German Federal Archives provide public histories of the Wall’s construction, border regime, and fall. The submitted photograph is an artist-attributed 2011 image of a weathered section and does not establish a precise location or a direct view of the Wall’s former border line. The work’s concern with a barrier that remains after passage is therefore an interpretive bridge, not a site-identification claim. Sources: [Berlin Wall Memorial](https://www.berlin.de/en/museums/3109351-3104050-gedenkstaette-berliner-mauer.en.html), [German Federal Archives](https://www.bundesarchiv.de/themen-entdecken/online-entdecken/dokumente-zur-zeitgeschichte/bau-der-berliner-mauer/).

## Moraine Lake access — OUT-007

Parks Canada’s current visitor guidance states that Moraine Lake Road is closed to personal vehicles year-round and that visitors using the Parks Canada shuttle need a reservation. The artist’s submission supplies the access context for the 2024 photograph; its exact route, permit, viewpoint, and capture-day conditions remain open. Source: [Parks Canada, Visiting Lake Louise and Moraine Lake](https://parks.canada.ca/pn-np/ab/banff/visit/parkbus/louise), accessed 8 August 2026.

## RAW-Gelände, Berlin — OUT-009

The official RAW history traces the site from a nineteenth-century railway workshop through railway-repair use, shutdown, temporary cultural occupation, and later redevelopment. This is the evidentiary basis for describing *Now Is Our Time* as a photograph of an industrial site whose cultural access and property regime changed over time. The exact building and rights in the graffiti remain unresolved. Sources: [RAW official history](https://raw-gelaende.de/en/historie/), [RAW English site history](https://raw-gelaende.de/en/about-r-a-w/).

## Casa NUA, São Paulo — OUT-011

Casa NUA’s public materials describe a São Paulo venue for digital-native art, events, production, and cultural programming. That institutional context supports the work’s setting, but not the sitter’s sensitive biography, document details, room permission, or direct consent. Sources: [Casa NUA](https://nua.casa/), [Domínio Público](https://dominiopublico.nua.casa/).

## Bangladesh Liberation War — OUT-015

The Liberation War Museum records the war’s culmination in Bangladesh’s independence on 16 December 1971; the Bangladesh Army’s public history situates the conflict in 1971. The Bangla title invokes that historical frame, but the photograph itself is a contemporary train-window scene and should not be described as documentary evidence of the war. Sources: [Liberation War Museum](https://www.liberationwarmuseumbd.org/page/history), [Bangladesh Army history](https://www.army.mil.bd/history).

## San Roque dam claim — OUT-014

An institutional water-quality publication from Argentina’s Instituto Nacional del Agua refers to the San Roque dam’s 1944 construction phase. This supports only the narrow historical lead that a 1944 dam phase exists in the public record. The artist’s claims about automatic pressure regulation, the exact structure, and the circumstances of capture require direct verification. Source: [INA hypolimnion water-quality study](https://www.ina.gov.ar/archivos/publicaciones/Cirsa_Limno_Hypolimnion_Water_Quality_2004.pdf). The [source bibliography](../sources-and-bibliography.md#site-and-historical-context-bibliography) records this study alongside the broader dam inventory and operations sources.

## Contexts intentionally withheld or kept attributed

- *Managed Freedom* (OUT-003): Kayseri and the horse scene are supplied by the artist; no exact site or broader horse-culture history is inferred.
- *Dichotomy.* (OUT-008): the image’s alleged prison/garden relationship remains the artist’s caption; the facility is not identified.
- *Checkpoint* (OUT-010) and *Rusted* (OUT-012): location and political context remain withheld or country-level only for safety.
- *No Access* (OUT-016): the miniature’s material and architectural references are not mapped to a real place.

Keys and Gates

# Keys and Gates

*Sixteen photographs selected in 2026 ask one shared question: how does a permission decide who may move, who must wait, and what remains outside the frame?*

The group begins with gates made of light: a blue patterned screen in a stone hall, a passage opening into glare, a ruined sequence of arches, and a small house glowing behind a warning sign. It then moves into systems that organize movement—traffic, a horse herd, a reservation-only landscape, and an aerial boundary between homes and palms. These images make access visible as pace, scale, and distance, with each threshold regulating more than the line between inside and out.

The next movement is historical and infrastructural. A weathered wall carries graffiti after its barrier has weakened; an industrial compound carries painted words; water radiates through a fluted structure the artist identifies as a spillway; a train window frames two women against the memory of liberation. The final works place the checkpoint in the body and the interface: a refrigerator, a concealed torso, a small booklet or document held in a theatrical room, and an “Esc” key that promises an exit to a subject too small to use it.

Taken together, the photographs keep freedom open as a live question. They show how an opening can filter, how a road can be open and still rationed, how a document can enable passage while exposing a person, and how a house can remain visible from the wrong side of a gate. Staged images, documentary views, collage, long exposure, and focus stacking make different kinds of access visible. The [research publication](curatorial-essay.md), *Access, Control, and Exit*, follows those formal and historical relations through sustained close readings.

The sequence supplies a curatorial order for reading the group. The final acquired quantity may be fewer than sixteen because availability, terms, documentation, minting, purchase, and program quantity remain open. The written scholarship, Work records, visual descriptions, and contextual image presentation form the current accession-publication edition. Fourteen Works are presented at 640, 1280, and 2400 pixels; OUT-004 and OUT-011 are restricted to 640 pixels. OUT-004, OUT-010, and OUT-011 retain their work-specific age, identity, consent, privacy, document-legibility, venue, and sensitive-biography cautions. Those cautions constrain interpretation and reuse; they do not erase the Works from the selected acquisition or consign the Museum's accession work to a future reviewer. The group’s current relationship is summarized below; the [Research and record](institutional-record.md) page keeps the supporting record.

## Visual sequence — curatorial order

| Sequence | Works | Artists | Shared visual question |
|---|---|---|---|
| Apertures and exits | [*Take the Key!*](works/take-the-key.md), [*No Key, Only Light*](works/no-key-only-light.md), [*Rusted*](works/rusted.md), [*No Access*](works/no-access.md) | [GulYildiz](artists/gulyildiz.md), [intrepid](artists/intrepid.md), [Teyhu](artists/teyhu.md), [Veerendra](artists/veerendra.md) | What can be seen through an opening before passage is granted? |
| Managed movement | [*the Artist in the Open Sea*](works/the-artist-in-teh-open-sea.md), [*Managed Freedom*](works/managed-freedom.md), [*the cost of open*](works/the-cost-of-open.md), [*Dichotomy.*](works/dichotomy.md) | [HugoFaz](artists/hugofaz.md), [nasimghanizadeh](artists/nasimghanizadeh.md), [priyanka](artists/priyanka.md), [Rakesh](artists/rakesh.md) | Who sets the speed, route, or altitude of movement? |
| Residual infrastructures | [*Residual Barrier*](works/residual-barrier.md), [*Now Is Our Time*](works/now-is-our-time.md), [*Morning Glory*](works/morning-glory.md), [*Fight for Freedom*](works/fight-for-freedom.md) | [ikertje](artists/ikertje.md), [pandelic](artists/pandelic.md), [Zoku](artists/zoku.md), [shamspranto](artists/shamspranto.md) | What remains after a barrier changes function? |
| Bodies and interfaces | [*The Hostile Gate*](works/the-hostile-gate.md), [*Checkpoint*](works/checkpoint.md), [*Sina Beizavi in Brazil*](works/sina-beizavi-in-brazil.md), [*Nowhere To Esc.*](works/nowhere-to-esc.md) | [GIANT](artists/giant.md), [Minalisa](artists/minalisa.md), [HugoFaz](artists/hugofaz.md), [arsonic](artists/arsonic.md) | When does the body or command become the checkpoint? |

## Artists

[GulYildiz](artists/gulyildiz.md) · [HugoFaz](artists/hugofaz.md) · [nasimghanizadeh](artists/nasimghanizadeh.md) · [intrepid](artists/intrepid.md) · [ikertje](artists/ikertje.md) · [GIANT](artists/giant.md) · [priyanka](artists/priyanka.md) · [Rakesh](artists/rakesh.md) · [pandelic](artists/pandelic.md) · [Minalisa](artists/minalisa.md) · [Teyhu](artists/teyhu.md) · [arsonic](artists/arsonic.md) · [Zoku](artists/zoku.md) · [shamspranto](artists/shamspranto.md) · [Veerendra](artists/veerendra.md)

HugoFaz appears twice in the selected group, in OUT-002 and OUT-011. Each work has a separate treatment; the artist has one canonical profile.

## Relationship and status

> Program: **Keys and Gates**, `6529NM-AP-01`  
> Curated Acquisition ID: `6529NM-CA-2026-002`  
> Selected works: **16**  
> Visitor state: **Selected through an acquisition program; acquisition pending**  
> Mint qualifier: **Not yet minted; minting route under consideration**
> Artist count: **15**  
> Collection relationship: **Not in the permanent Collection; no accession recorded.**

The display title for OUT-015 follows the exact UTF-8 submission/media text: *মুক্তিযুদ্ধ - Fight for Freedom*. A compact [transcription and correction note](institutional-record.md#transcription-and-correction-note) records the source-layer history; the historical JSON remains unchanged.

Access, Control, and Exit

# Access, Control, and Exit

Sixteen photographs selected in 2026 move across four registers: apertures and exits, managed movement, residual infrastructures, and bodies and interfaces. A blue patterned screen, a fort passage, a tub in traffic, a horse herd, a reserved landscape, a palm boundary, a weathered wall, a fluted water structure, train windows, a refrigerator, a concealed torso, a document, and a separated Esc key give the argument its materials.

The sequence follows the catalogue’s curatorial order. The first group measures light and distance; the second puts routes and bodies under pressure; the third follows control into walls, sites, water, and public memory; the fourth brings those questions into domestic space, the pictured body, and the interface. Close looking keeps the comparisons attached to each photograph.

## Apertures and exits

In GulYildiz’s [*Take the Key!*](works/take-the-key.md), a small figure stands before a tall patterned screen inside a stone interior. Blue geometry breaks daylight into long bands across the floor. The screen has the authority of a wall and the behaviour of a filter: it admits brightness in pieces and keeps the figure at a distance from whatever lies beyond. The artist links the image to knowledge, authority, digital sovereignty, and self-custody. The photograph gives those ideas an optical structure before any claim is resolved.

The two silhouettes in [*No Key, Only Light*](works/no-key-only-light.md) occupy a rough passage at Fort Frederick. Their path narrows through stone and ends in white glare. The artist’s account connects that personal movement to surveillance; public site history independently supports the fort’s documented defence and revolutionary context. Facial detail is absent from the frame. The image records a return; the family and pandemic-travel narrative remains attributed to the artist, while public site history supplies the architectural frame.[^1]

Teyhu’s [*Rusted*](works/rusted.md) carries the threshold deeper into a damaged interior. Receding arches establish a corridor of diminishing scale, and the distant figure’s keys appear as a small glint within the ruin. The artist describes rust as a promise worn down by use. The photograph leaves the building unnamed, so its broken plaster and exposed brick stay with the experience of delay; no single authorized history is established.

Veerendra’s [*No Access*](works/no-access.md) builds the barrier by hand. A white house and red roof sit beneath a starry sky; a path ends at a lit gate and warning sign. Focus stacking keeps the miniature scene unusually legible, allowing the viewer to inspect every part of the distance while the figure remains outside. Scale is the work’s pressure point: shelter is close enough to see, and permission is still a small sign across the path.

## Managed movement

In HugoFaz’s [*the Artist in the Open Sea*](works/the-artist-in-teh-open-sea.md), a sharply defined performer sits in a white tub or boat amid traffic streaked by long exposure. The road is all speed and directional force; the performer occupies a still pocket inside it. The artist’s marketplace analogy gives the composite a social charge. What the image contributes is a body held at a different tempo from the infrastructure carrying everything around it.

In [*Managed Freedom*](works/managed-freedom.md), a rider and a white rearing horse rise above a crowded herd. The lifted horse creates an instant of vertical force, but the animals below fill the plain with pressure, command, and collective direction. The artist associates the scene with migration, shelter, refusal, and negotiated freedom. The photograph’s openness comes with a choreography: bodies move through a field whose apparent breadth never removes the structures that direct them.

In Priyanka’s [*the cost of open*](works/the-cost-of-open.md), turquoise water, dark forest, and the Valley of the Ten Peaks under snow form the group’s most conventionally inviting view. Its access machinery stays outside the frame. Parks Canada currently states that Moraine Lake Road is closed to personal vehicles year-round and that shuttle access requires a reservation; the artist’s submission relates those conditions to queues, capacity, time, and cost. Nothing in the calm view discloses the reservation, shuttle, queue, time, and cost required to reach it.[^2]

Rakesh Pulapa’s aerial [*Dichotomy.*](works/dichotomy.md) compresses movement into a diagram. Dense roofs meet a regimented palm plantation along an edge drawn almost ruler-straight across the frame. The submission calls the cultivated side a prison garden and the other side a neighbourhood; the facility remains unidentified in the public record. From above, land use becomes pattern, and the question of access includes the unequal viewpoints from which a boundary can be mapped.

## Residual infrastructures

In ikertje’s [*Residual Barrier*](works/residual-barrier.md), a weathered concrete wall holds the lower edge of a pale sky. Graffiti and surface damage interrupt its mass, while the horizontal line keeps the old force of a barrier present in the eye. The artist attributes the photograph’s location to Berlin in 2011; the precise site and any relationship between the pictured structure and the former Berlin Wall remain unverified. Its subject is the persistence of a boundary as material and memory after the exact site and original function have receded.[^3]

pandelic’s [*Now Is Our Time*](works/now-is-our-time.md) locates residue in a changing industrial compound. Barred openings, lamps, layered graffiti, and the painted sentence occupy one black-and-white field. RAW-Gelände’s documented movement from railway repair works through shutdown, cultural use, and redevelopment gives the site a history of changing access; the image holds the slogan inside that unstable property story. The painted words occupy the present frame, while the building records how quickly a present can become a contested layer.

Zoku’s [*Morning Glory*](works/morning-glory.md) looks up through a dark, fluted structure the artist identifies as a spillway. Water radiates from a centre below the frame and gathers the light into a narrow opening of sky. The artist describes an automated pressure-regulation system at San Roque Dam. Public technical material supports a 1944 dam phase; the particular component, operating conditions, and full automation claim remain attributed to the submission.[^4] The image places water, concrete, and hidden machinery in the same visual field.

In shamspranto’s [*মুক্তিযুদ্ধ - Fight for Freedom*](works/fight-for-freedom.md), two women lean from separate windows of a weathered teal train. One meets the outside with her face; the other shields part of hers with an orange head covering. A torn poster enters below them, its provenance and relation to the Liberation War unresolved. The Bangla title invokes the 1971 historical frame, while the contemporary collage keeps the scene in the present. Windows, tracks, and poster divide public movement from private memory; the source of the image’s history remains unsettled.

## Bodies and interfaces

GIANT’s [*The Hostile Gate*](works/the-hostile-gate.md) brings the gate into a kitchen. A shirtless figure opens a refrigerator covered in colourful magnets; the door releases a pale vertical light, and the sparse interior refuses the comfort the appliance promises. In the artist’s self-portrait project, the domestic gesture carries appetite, body image, and self-judgement. The photograph keeps the threshold close to the hand: access to provision is also a moment of self-measurement.

Minalisa’s [*Checkpoint*](works/checkpoint.md) gives the body a different kind of border. Black fabric folds around a bare torso and removes the face from the scene. Exposure and concealment occupy the same crop, with clothing setting the terms of the viewer’s approach. The submission connects the image to bodily ownership, movement, and the gaze of others; the public treatment keeps that account attributed and the person’s identity open.

In [*Sina Beizavi in Brazil*](works/sina-beizavi-in-brazil.md), HugoFaz places the sitter in an ornate gold chair with bright sandals and a small dark booklet or document. In the historical 640px presentation review, its text was not readable. Gold ornament supplies a theatrical welcome; the object in the sitter’s hand introduces administration into the room. The catalogue uses “the sitter” and leaves personal biography and identifiers outside the public interpretation. The arrangement places ease, display, and proof in the same chair.[^5]

arsonic’s [*Nowhere To Esc.*](works/nowhere-to-esc.md) reduces the credential to keyboard scale. Black keys spell “NO / WHERE / TO,” while the Esc key sits apart beside a small ant. The separation changes the phrase’s rhythm: the command is readable, and the promised exit remains physically displaced. The ant supplies a vulnerable scale against the hard certainty of the keys. The Esc key names an exit from the far edge of the layout; its separation makes escape legible and physically remote.

## A material comparison

Read in curatorial order, the group moves from openings that admit light to routes that choreograph bodies, then to infrastructures whose former controls survive as wall, industrial site, waterwork, and train. The final register brings the question into the body and the interface: a refrigerator door, a concealed torso, a document, and an Esc key.

Across the group, light breaks into bands; traffic and herds set competing tempos; the lake and palm boundary expose access systems beyond the frame; walls, water, and train windows carry histories forward; bodies and objects make proof visible. The comparison rests on those specific forms: broken light, blocked paths, directed bodies, surviving walls, controlled water, train windows, documents, and a displaced Esc key.

## Notes and source record

[^1]: Fort Frederick’s public architectural history and the distinction between site context and the artist’s account are recorded in the [context register](contexts/index.md#fort-frederick-grenada-out-004). The family narrative, date discrepancy, and consent representation remain attributed to the submission.
[^2]: Parks Canada, [Visiting Lake Louise and Moraine Lake](https://parks.canada.ca/pn-np/ab/banff/visit/parkbus/louise), accessed 8 August 2026; the [Moraine Lake context entry](contexts/index.md#moraine-lake-access-out-007) keeps the official access policy separate from the artist’s 2024 capture conditions.
[^3]: The [Berlin Wall context entry](contexts/index.md#berlin-wall-residual-barrier-out-005) and [source register](sources-and-bibliography.md) identify the public historical sources and preserve the unresolved exact location.
[^4]: The [San Roque context entry](contexts/index.md#san-roque-dam-claim-out-014) cites the Instituto Nacional del Agua publication for the narrow 1944 dam-phase claim. The artist’s component and operating-description remain source-attributed.
[^5]: The visual description and document-legibility boundary are recorded in the [media join](media-joins.md#out-011), [rights register](rights-and-consent.md#display-specific-ethical-basis), and [current media-delivery amendment](media-delivery-withdrawal-amendment-2026-08-09.md).

## Revision history

- `1.4` (`supersedes: 1.3`) — 2026-08-16: replaced three abstract or grammatically awkward
  formulations with direct descriptions of the photographs and their access
  evidence; no selection, attribution, rights, or program status changed.
- `1.3` — 2026-08-16: replaced an opaque interface metaphor with a direct
  account of the Esc key's position and visual effect; no selection,
  attribution, evidence, rights, or program status changed.
- `1.2` — 2026-08-15: copy-edited the public Research edition for direct
  museum language; no selection, attribution, evidence, rights, or program
  status changed.
- `1.1` — 2026-08-08: published the complete sixteen-work curatorial essay.

Keys and Gates — institutional and source record

# Keys and Gates — institutional and source record

This page is the control and evidence layer for the public [Keys and Gates](curated-acquisition.md) catalogue page. It preserves the distinction between visitor-facing curatorial prose and the records required for acquisition, rights, technical, and accession review.

## Research publication record

The [Research Publication, *Access, Control, and Exit*](curatorial-essay.md)
is the deep comparative essay for this edition. Its public text carries the
image-grounded argument and source notes; the publication controls are kept
here.

| Field | Retained value |
|---|---|
| Edition | 1.1 · 8 August 2026 |
| Author | 6529 Network Museum, Curatorial Research |
| Research cutoff | 8 August 2026 UTC |
| Stable edition | *Keys and Gates* Research Publication, edition 1.1, bound to Curated Acquisition `6529NM-CA-2026-002` |
| Suggested citation | 6529 Network Museum. “Access, Control, and Exit.” *Keys and Gates* Research Publication, edition 1.1, 8 August 2026. Curated Acquisition `6529NM-CA-2026-002`. |

### Publication revision history

- **1.1 · 8 August 2026:** Recast the essay as a distinct comparative
  publication; separated aperture, managed movement, residue, and credential;
  added official Moraine Lake access citation and narrower San Roque wording;
  and moved publication controls out of the essay body.
- **1.0 · 8 August 2026:** Published the initial comparative essay alongside
  the concise Curated Acquisition gateway.

## Current control state

| Field | Retained value |
|---|---|
| Acquisition Program | `6529NM-AP-01` |
| Curated Acquisition ID | `6529NM-CA-2026-002` |
| Program status | `selection_complete_acquisition_and_accession_unverified` |
| Status observation | `2026-08-01T15:03:35Z` |
| Selected-outcome state | `selected_unminted` |
| Selected outcomes | 16, ranked 1–16 |
| Distinct artist handles | 15 |
| Program Wave | `4ff022b3-aa17-4a0a-ba78-58f64ff1d427` |
| Description drop | `71c798bc-629d-46f2-8610-507a91be4f57`, serial `972000` |
| Formal program note | [`program.json`](../program.json) |
| Outcome index | [`selected-works.json`](../selected-works.json) |
| Evidence inventory | [`notes/research/keys-and-gates-evidence.md`](../../../../notes/research/keys-and-gates-evidence.md) |

This is the latest retained control observation in the canonical repository. It is not a live status refresh on the date of this editorial build.

## Selection evidence and boundary

The retained evidence supports sixteen signed `WINNER` submissions in the program Wave. The selection record explicitly says that sixteen is not a guaranteed acquisition quantity; rank-order fallback applies when a selected work is unavailable or fails program terms, and final quantity is related to Meme Card mints.

The program terms record a planned price of `0.5 ETH` per acquired work and a planned custody reference of `networkmuseum.6529.eth`. Those are program terms and planning references. The evidence set contains no verified mint, deployed contract, token ID, CAIP-19 identity, purchase, payment, title passage, transfer, custody receipt, or accession for these outcomes.

The future acquisition method is described in the working ontology as primary mint and purchase under program terms. Mint topology remains undecided between a dedicated 6529Stream instance and a main-Stream subcollection. No topology, contract, or transaction should be inferred from the selected state or the media derivatives.

## Registrar gates

Before an outcome can move from selection toward acquisition or accession, the program record requires review of:

1. artist availability and final program terms;
2. artist identity, public credit, title, and authority;
3. effective CC0 instrument and depicted-person consent;
4. contract, network, token, metadata, and media identity;
5. purchase and mint transaction evidence;
6. a title binding for the specific transfer;
7. custody receipt and independent custody verification;
8. technical, condition, preservation, accessibility, and display readiness;
9. curatorial and mission fit;
10. accession statement and individual object record; and
11. second-person review.

The current [rights and consent register](rights-and-consent.md), [media join register](media-joins.md), and [independent accessibility review](accessibility-review-2026-08-11.md) record the review already completed and the facts that remain open. No consent or private source instrument is retained in this public Museum record; later documents enter the appropriate registrar layer. Open facts remain evidence boundaries, not a reason to leave the present review unwritten.

## Public/restricted boundary

Public now: selection identifiers, artist handles and approved public-source biographies, artist-attributed submission readings, reviewed visual descriptions, contextual presentation copies, source links, typed media joins, and explicit unknowns.

Not retained or still to be established: legal identity documents, direct contact details, model releases, consent instruments, sensitive locations, unredacted passport/document details, original high-resolution bytes, layered source files, exact site permissions, title documents, transaction evidence, custody receipts, and technical preservation packages. No consent or source instrument is represented as being held in this record; future receipt would be handled in a restricted registrar layer.

The public corpus does not publish private contact information or treat a platform handle as a legal identity. Sensitive biography, migration, sexuality, religion, nudity, minor status, and location claims remain attributed, minimized, or held pending direct approval.

## Media and rights boundary

The existing [`PROGRAM_MEDIA_MANIFEST`](../media-manifest.json) identifies submitted-source observations, source fixity, the deterministic transform, and the current delivery control. The source bytes were fixity-checked during derivation and are not retained in the repository. The [current display authority](media-display-authorization-amendment-2026-08-11.md) admits 44 exact presentation derivatives: three widths for fourteen Works and a 640-pixel copy for OUT-004 and OUT-011. Presentation surrogates remain distinct from source originals, preservation masters, tokenized artworks, and evidence that rights have become effective.

The manifest’s `rights_effective_status` remains controlling for each outcome. Artist statements that say “CC0,” “CCO,” or that all rights are held are submission assertions until the Museum receives and reviews an effective rights instrument, authorship/title evidence, third-party-material status, and any required depicted-person consent.

Creative Commons’ public guidance also separates copyright dedication from personality, privacy, publicity, and trademark rights. The [rights register](rights-and-consent.md) applies that distinction to people, minors, nudity, passports, graffiti, posters, sites, and physical miniatures.

The historical visual descriptions and their typed projections are documented in the [initial accessibility amendment](accessibility-amendment.md), the [OUT-013 amendment](accessibility-amendment-2026-08-08-002.md), and [amendment 003](accessibility-amendment-2026-08-08-003.md). The historical OUT-011 and OUT-004 delivery readbacks and the 9 August withdrawal remain in the append-only source history. The [11 August accessibility review](accessibility-review-2026-08-11.md) and [display authority](media-display-authorization-amendment-2026-08-11.md) control the present edition. These derived records do not change source bytes, selected-outcome status, or `rights_effective_status`.

## Transcription and correction note

The public page renders OUT-015 as **মুক্তিযুদ্ধ - Fight for Freedom**, following the exact UTF-8 title in the retained artist submission/media evidence. `selected-works.json` remains the source-layer title record; this page records the display transcription and its direct evidence without claiming corruption or silently rewriting the canonical JSON.

The same source discipline applies to other title or credit questions: OUT-002 preserves the submitted `teh` spelling pending artist confirmation; the `GulYildiz`/`Gül Yıldız` association is supported by the signed submission and Fujifilm profile; `pandelic`/Eric Pan, `Minalisa`/Mina Rahmani, `shamspranto`/Shams Nayeem Pranto, and `Veerendra`/Veerendra Jillella remain source-layer associations with unresolved authority questions where indicated.

## WP-1 integration dependencies

The content layer depends on the shared definitions listed in [schema-dependencies.md](schema-dependencies.md) and the [current publication integration record](publication-integration.md). The program-media control records all sixteen descriptions as `constructed_visual_description_reviewed` and requires the exact display-authority record before any public derivative can be admitted.

Integration must preserve:

- `6529NM-AP-01` and `6529NM-AP-01-OUT-###` identifiers;
- `selected_unminted` and the formal program status;
- Work, agent, right/permission, evidence, record, package, manifestation, and presentation-surrogate distinctions;
- observation times, fixity, evidence grades, and negative evidence;
- append-only corrections with `supersedes`; and
- public/restricted separation.

## Presentation and publication boundary

The written scholarship, contextual image presentation, responsive derivative set, and reviewed visual descriptions form the current accession-publication candidate. OUT-004, OUT-010, and OUT-011 retain explicit consent, identity or age, document, venue, and privacy boundaries; OUT-004 and OUT-011 remain 640 pixels only. The controlling records are the [display authority](media-display-authorization-amendment-2026-08-11.md), [accessibility review](accessibility-review-2026-08-11.md), [`docs/program-media-delivery.md`](../../../../docs/program-media-delivery.md), and [`docs/programs/keys-and-gates.md`](../../../../docs/programs/keys-and-gates.md). Earlier publication and withdrawal amendments remain historical.

## Exact non-claims retained for audit

The public corpus does not establish:

- minting, deployment, token ID, contract, network, metadata, or CAIP-19 identity;
- purchase, payment, sale completion, title passage, or acquisition completion;
- transfer to or receipt by `networkmuseum.6529.eth`;
- effective CC0, model release, depicted-person consent, or unrestricted reproduction rights;
- preservation-master creation or token-level technical completion;
- accession, accession number, Collection membership, or permanent-holding status; or
- that all sixteen selected works will ultimately be acquired.

Those boundaries are deliberately kept here so the visitor-facing page can remain a sustained photographic argument.

Keys and Gates - current media-delivery withdrawal

# Keys and Gates - current media-delivery withdrawal

**Record ID:** `6529NM-AP-01-MEDIA-DELIVERY-2026-08-09-008`

**Supersedes for current delivery state:** amendments 004, 005, 006, and the delivery portion of amendment 007

**Record type:** append-only derived media-delivery amendment

**Revision:** 1

**Issued:** 9 August 2026

**Constructor:** 6529 Network Museum, Curatorial Research and Registrar

**Independent exact-commit review:** pending

The written Keys and Gates edition remains complete as a constructed
scholarly record. Its sixteen images are withheld from the active visitor
publication until a reviewed display-authority record establishes the exact
works, uses, sizes, accessibility descriptions, and any work-specific
conditions approved for release.

## Current delivery state

The active program media manifest records:

- delivery status `withheld_pending_reviewed_display_authority`;
- no display-authority record;
- an empty public-width allowlist for every outcome;
- no active presentation derivatives; and
- no local WebP files in the current media inventory.

The typed Media records are documentation joins. They retain the constructed
visual descriptions and point to the governed JSON record, while exposing no
image locator, token-source locator, dimensions, verified current-file
fixity, or visual affordance.

## Historical record

This withdrawal preserves the earlier derivation history. Immediately before
the correction, candidate commit
`86b0735e4a81030f94d29973001d3b2751ba8b75` contained 44 WebP presentation
files totalling 15,408,782 bytes. Its program media manifest had SHA-256
`sha256:f023c79f44b8440813c11b9ebf9d428d06d399ae87d846d6e08b9e6db459cd85`;
the accessibility record had SHA-256
`sha256:e831d511bceb23159272dc1d0ae53bcebee432395781052a045d502520a74c16`.
The earlier amendments and immutable Git history preserve the exact
per-derivative hashes and delivery readbacks.

Those historical observations remain evidence of technical work performed.
They do not operate as current publication instructions. The submitted-source
locations retained in the outcome records and manifest remain provenance
evidence and are not visitor image affordances.

## Restoration gate

Image delivery may be restored only through a later append-only authority
record reviewed against an exact commit. That record must identify the
approved outcomes and widths, bind the accessibility descriptions, state the
rights and sensitive-subject disposition for each affected work, and update
the manifest's authority reference. The deterministic media checker rejects
active derivative files or widths while the withdrawal status is in force.

## Revision history

- **1 - 9 August 2026:** Withdrew all sixteen images from the active visitor
publication, closed the manifest and local derivative inventory at zero,
preserved the prior candidate commitment, and established the reviewed
display-authority gate for any later restoration.

Keys and Gates — image presentation authorization

# Keys and Gates — image presentation authorization

**Record ID:** `6529NM-AP-01-MEDIA-DISPLAY-2026-08-11-009`

**Supersedes for current image delivery:** `6529NM-AP-01-MEDIA-DELIVERY-2026-08-09-008`

**Issued:** 11 August 2026

**Authority:** 6529 Network Museum editorial direction
**Scope:** contextual display of the sixteen selected submissions

The Museum authorizes the public presentation of the sixteen images selected
through Keys and Gates. The images are shown so that visitors can encounter
the program as a work of curation, read the photographs together, and follow
the artists and individual work records.

This authorization governs display. It does not complete the planned mint or
purchase, transfer title or custody, activate the program's prospective CC0
terms, admit a work to the permanent Collection, or create a public download
right. The current label remains: **selected through Keys and Gates;
acquisition and minting pending**.

## Presentation set

The active presentation set is the exact group recorded in
`selected-works.json` and `media-manifest.json`. Each image is a deterministic
WebP surrogate made from the artist's submitted source. The manifest binds the
source observation, transform profile, dimensions, file size, SHA-256 digest,
repository path, delivery URL, and visual description for every released
surrogate.

Fourteen works may use the 640, 1280, and 2400 pixel widths. OUT-004 and
OUT-011 use the 640 pixel surrogate only. Those limits retain the prior
work-specific editorial disposition for images involving children described
by the submitting artist or nudity with an unresolved consent instrument.
The limitation is a publication measure, not a finding about identity, age,
consent, or any undisclosed fact.

## Conditions of display

- Images appear only in the Keys and Gates program, curated acquisition,
  artist, and work contexts.
- Every presentation carries the recorded artist, title, program status, and
  rights boundary.
- Images are shown without cropping and without a download, IIIF, or
  preservation-master claim.
- The website does not identify depicted people beyond the public record and
  does not infer age, consent, biography, location, or circumstance.
- The submitted source and the web surrogate remain distinct. The source is
  not offered to visitors.
- A later rights, consent, title, mint, custody, accession, or preservation
  record may add facts. None is inferred here.

## Current technical binding

The active `media-manifest.json` records delivery status
`approved_by_reviewed_display_authority` and cites this record. Its revision 3
restores the exact immutable derivative bytes preserved in repository history
and retains the 9 August withdrawal as an append-only predecessor.

## Revision history

- **1 — 11 August 2026:** Authorized contextual image presentation for all
  sixteen selected works, restored the governed responsive derivatives, kept
  two work-specific 640 pixel limits, and preserved all acquisition, rights,
  reuse, identity, and preservation boundaries.

Keys and Gates - media and visual-description record

# Keys and Gates - media and visual-description record

This record joins the sixteen selected outcomes to the Museum's visual
descriptions, source observations, fixity, and contextual presentation copies.
The [current display authority](media-display-authorization-amendment-2026-08-11.md)
admits fourteen Works at 640, 1280, and 2400 pixels and restricts OUT-004 and
OUT-011 to 640 pixels.

## Record boundary

For each outcome, the active join is:

```text
selected outcome
  -> source observation and source fixity
  -> reviewed visual description
  -> typed Media record and exact presentation derivatives
  -> contextual visitor display with no download or reuse grant
```

The source observations remain upstream public submission evidence and are
not themselves Museum presentation links. The active derivatives are web
presentation surrogates, distinct from source downloads, preservation masters,
token manifestations, and evidence of title or accession. Historical delivery
states remain in the append-only amendment chain.

## Current joins

| Outcome | Source SHA-256 | Source pixels | Constructed visual description | Active delivery |
|---|---|---:|---|---|
| <a id="out-001"></a>OUT-001 | `sha256:898df24ecb82ac0b32ca99e995e5c1b027c47d6b1bef8d636eb2b06640d9ea66` | 3243 × 4864 | A lone figure stands before a tall blue patterned gate as sunlight casts long geometric shadows across a stone hall. | 640, 1280, 2400 |
| <a id="out-002"></a>OUT-002 | `sha256:e3d4f538d4c9d3aa79a1d7ed11e93819a806fad85dbed4b8b38e9c62528d55fe` | 6000 × 4000 | An elevated view shows blurred buses and traffic around a sharply defined performer seated in a small blue vessel on the roadway. | 640, 1280, 2400 |
| <a id="out-003"></a>OUT-003 | `sha256:4efc4651598006e212d159710714181c61dc3dfdc80719b7ae8a573f382d9eca` | 6720 × 4480 | A rider on a rearing white horse rises above a herd of brown horses on a wide plain beneath hazy mountains. | 640, 1280, 2400 |
| <a id="out-004"></a>OUT-004 | `sha256:30e39b61e696cdab4b3a54beec5b33c2152f7440343479a45bc7bfe2175b0782` | 4160 × 4160 | Two silhouetted figures walk toward daylight at the end of a rough stone passage. | 640 only; age and consent scope remain open |
| <a id="out-005"></a>OUT-005 | `sha256:5df39d20ceb215cc93831e52bf9a8b27f332e5e94f613fb3c8f377200ea5daca` | 3780 × 2452 | A long weathered concrete barrier with faded graffiti divides a pale sky from a dark foreground. | 640, 1280, 2400 |
| <a id="out-006"></a>OUT-006 | `sha256:29db1bb746118e074cf6cbad247be4874ada7840fd3b025c37903bd87082a233` | 3804 × 2536 | A shirtless man opens a refrigerator covered in colorful magnets in a domestic kitchen. | 640, 1280, 2400 |
| <a id="out-007"></a>OUT-007 | `sha256:02a8ce8495cbea2bce1475a940a436310abc0fd979ff42114f9bf7a1953e9103` | 10080 × 5670 | A turquoise mountain lake is bordered by evergreen forest and a jagged, snow-dusted mountain range. | 640, 1280, 2400 |
| <a id="out-008"></a>OUT-008 | `sha256:03950568f8819a8209f4931380e05b28b17408679a838f8043987b93d2e7fc3b` | 2952 × 3888 | A vertical aerial view shows dense residential roofs meeting an ordered palm plantation along a sharp boundary. | 640, 1280, 2400 |
| <a id="out-009"></a>OUT-009 | `sha256:c6d7f689d7e532cedeaba69270c0775ccf619bbfbbd0f0c5bd9c182e1eb64314` | 3008 × 2000 | Black-and-white industrial buildings sit beneath a cloudy sky, with the words NOW IS OUR TIME painted on a wall. | 640, 1280, 2400 |
| <a id="out-010"></a>OUT-010 | `sha256:f7445ec2e3d716ac8878ee7538001c1b45a2e29baf6f49fd090b86140ecb8162` | 4160 × 6240 | A bare torso emerges from folds of black fabric against a nearly black background. | 640, 1280, 2400; contextual display only |
| <a id="out-011"></a>OUT-011 | `sha256:4d7c6e452638a6dd091253bf1cc2c5b14e141920dd72a28dab5085bb7b4526fc` | 6000 × 4000 | A nude figure reclines on an ornate gold chair, wearing bright sandals, with one hand lowering a small dark booklet or document toward the floor; no text is readable on it. | 640 only; contextual display only |
| <a id="out-012"></a>OUT-012 | `sha256:4c9f68e4eee9cdf87f59cb960cac072dab8ec23e2b60a94095c38969412fa45b` | 5168 × 3648 | A person stands framed by successive arched doorways inside a heavily damaged building. | 640, 1280, 2400 |
| <a id="out-013"></a>OUT-013 | `sha256:dab5b9e0e5c82cff338f9f75c401cffe6a8b2a2f13e0b875526753cbc438d541` | 5000 × 5000 | Black keyboard keys spell NO / WHERE / TO on a white surface, while the Esc key sits apart below beside a small ant. | 640, 1280, 2400 |
| <a id="out-014"></a>OUT-014 | `sha256:caff170b0ba35c185f75c6e436c2557a9ef1743c399ca07dbb08848777239d03` | 2670 × 1878 | The camera looks upward through a dark, fluted circular structure toward a small opening of sky. | 640, 1280, 2400 |
| <a id="out-015"></a>OUT-015 | `sha256:2e2a0c1d7ace2f24a15d5a0e2c448b38756c86fab8e31b66a04d797ba3d22a12` | 2800 × 4000 | Two people lean from the windows of a weathered teal train; one wears a bright orange head covering. | 640, 1280, 2400 |
| <a id="out-016"></a>OUT-016 | `sha256:6f2e18606cc3fc4c3af0fadb3a275ef0a739c00463481bfb5fa511be238f5b73` | 4896 × 3917 | A small white house with a red roof stands on a hill beneath a starry sky, beyond a lit gate with a posted sign and a silhouetted figure. | 640, 1280, 2400 |

## Accessibility state

All sixteen descriptions have been checked against the active presentation
copies. They describe visible material without identifying people or inferring
legal status. OUT-004 keeps the figures non-identifying; OUT-010 describes the
visible torso without inferring identity or age; OUT-011 records the document's
reduced legibility without transcribing an identifier.

The current manifest, accessibility inventory, typed Media records, and this
table form a one-to-one set of sixteen. CI binds every admitted derivative to
its exact source fixity, transform profile, public width, display authority,
and no-reuse boundary.

presentation-manifest

{
  "$schema": "../../../../schemas/program-media-presentation.schema.json",
  "record_control": {
    "revision": 1,
    "record_status": "constructed",
    "constructor": {
      "actor_id": "codex-task:network-museum-exhibition-media-2026-08-11",
      "role": "constructor",
      "constructed_at": "2026-08-11T22:44:52.647Z"
    },
    "review": null
  },
  "record_type": "PROGRAM_MEDIA_PRESENTATION",
  "schema_profile": "6529NM_PROGRAM_MEDIA_PRESENTATION_V1",
  "program_id": "6529NM-AP-01",
  "source_manifest_revision": 4,
  "generated_at": "2026-08-11T22:44:52.647Z",
  "transform_profile": "6529NM_WEB_PRESENTATION_WEBP_V2_Q82_M6_FIXED_ICC",
  "delivery": {
    "status": "approved_by_reviewed_display_authority",
    "authority_record_id": "6529NM-AP-01-MEDIA-DISPLAY-2026-08-11-009",
    "cache_control": "public, max-age=31536000, immutable"
  },
  "items": [
    {
      "record_id": "6529NM-AP-01-OUT-001",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A lone figure stands before a tall blue patterned gate as sunlight casts long geometric shadows across a stone hall.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 960,
            "mime_type": "image/webp",
            "sha256": "sha256:3e20417e312f145184476d3c122992754899a136313359e72294eb8f781d59f0",
            "byte_size": 126768,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-001/898df24ecb82ac0b32ca99e995e5c1b027c47d6b1bef8d636eb2b06640d9ea66/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-001/898df24ecb82ac0b32ca99e995e5c1b027c47d6b1bef8d636eb2b06640d9ea66/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 1920,
            "mime_type": "image/webp",
            "sha256": "sha256:d28e89b7ca58647ce0b7a0979ca8138d4213c3c0b4080d76b7f154b522612b04",
            "byte_size": 510514,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-001/898df24ecb82ac0b32ca99e995e5c1b027c47d6b1bef8d636eb2b06640d9ea66/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-001/898df24ecb82ac0b32ca99e995e5c1b027c47d6b1bef8d636eb2b06640d9ea66/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 3600,
            "mime_type": "image/webp",
            "sha256": "sha256:a2c571eeec02f38b9408820769766897522e3697ceceed32d167e86706046696",
            "byte_size": 1617734,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-001/898df24ecb82ac0b32ca99e995e5c1b027c47d6b1bef8d636eb2b06640d9ea66/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-001/898df24ecb82ac0b32ca99e995e5c1b027c47d6b1bef8d636eb2b06640d9ea66/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-002",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "An elevated view shows blurred buses and traffic around a sharply defined person seated in a small blue tub or boat on the roadway.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 427,
            "mime_type": "image/webp",
            "sha256": "sha256:fc6d063ce1587e44ec90a58c3e4ad86574c88be98fcb32d67a14d361967f3a38",
            "byte_size": 53848,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-002/e3d4f538d4c9d3aa79a1d7ed11e93819a806fad85dbed4b8b38e9c62528d55fe/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-002/e3d4f538d4c9d3aa79a1d7ed11e93819a806fad85dbed4b8b38e9c62528d55fe/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 853,
            "mime_type": "image/webp",
            "sha256": "sha256:3d67ee66b9000bc4c461bf3e4f2a792b210eef107cdc8dda48e86ad32748425e",
            "byte_size": 196224,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-002/e3d4f538d4c9d3aa79a1d7ed11e93819a806fad85dbed4b8b38e9c62528d55fe/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-002/e3d4f538d4c9d3aa79a1d7ed11e93819a806fad85dbed4b8b38e9c62528d55fe/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1600,
            "mime_type": "image/webp",
            "sha256": "sha256:27be835c3c03027164944bfc914025f7eada3f6909cede05690bb27746fb5269",
            "byte_size": 659890,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-002/e3d4f538d4c9d3aa79a1d7ed11e93819a806fad85dbed4b8b38e9c62528d55fe/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-002/e3d4f538d4c9d3aa79a1d7ed11e93819a806fad85dbed4b8b38e9c62528d55fe/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-003",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A rider on a rearing white horse rises above a herd of brown horses on a wide plain beneath hazy mountains.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 427,
            "mime_type": "image/webp",
            "sha256": "sha256:c45f68c1907ac9475cea8f15288a96887e502567f61e35ee9ac09aa53ffa6461",
            "byte_size": 21572,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-003/4efc4651598006e212d159710714181c61dc3dfdc80719b7ae8a573f382d9eca/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-003/4efc4651598006e212d159710714181c61dc3dfdc80719b7ae8a573f382d9eca/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 853,
            "mime_type": "image/webp",
            "sha256": "sha256:58d70f550e2ea17f6e727db7214f49ff52376917fbc6fb5260554cd39cf3749b",
            "byte_size": 57990,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-003/4efc4651598006e212d159710714181c61dc3dfdc80719b7ae8a573f382d9eca/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-003/4efc4651598006e212d159710714181c61dc3dfdc80719b7ae8a573f382d9eca/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1600,
            "mime_type": "image/webp",
            "sha256": "sha256:2e5f3c80266181f1d7f0cfb0ae235a243828063fd958ea9ff6ef62b5ba7a0db9",
            "byte_size": 154486,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-003/4efc4651598006e212d159710714181c61dc3dfdc80719b7ae8a573f382d9eca/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-003/4efc4651598006e212d159710714181c61dc3dfdc80719b7ae8a573f382d9eca/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-004",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "Two silhouetted figures walk toward daylight at the end of a rough stone passage.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 640,
            "mime_type": "image/webp",
            "sha256": "sha256:8e0915b020965a6090c868ba29397c03ee8322d84ebca32fe3714f0537d96987",
            "byte_size": 45202,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-004/30e39b61e696cdab4b3a54beec5b33c2152f7440343479a45bc7bfe2175b0782/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-004/30e39b61e696cdab4b3a54beec5b33c2152f7440343479a45bc7bfe2175b0782/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-005",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A long weathered concrete barrier with faded graffiti divides a pale sky from a dark foreground.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 415,
            "mime_type": "image/webp",
            "sha256": "sha256:5f0a87f5fbae6f0622578e4a60701da4f0b2c89fe7caa0303efff13ab9db5f0a",
            "byte_size": 65508,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-005/5df39d20ceb215cc93831e52bf9a8b27f332e5e94f613fb3c8f377200ea5daca/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-005/5df39d20ceb215cc93831e52bf9a8b27f332e5e94f613fb3c8f377200ea5daca/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 830,
            "mime_type": "image/webp",
            "sha256": "sha256:ad1dbefd5c47533b03ffdd1cf5ca451406c88ed8331cb332ca95c79ea1af47cc",
            "byte_size": 264520,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-005/5df39d20ceb215cc93831e52bf9a8b27f332e5e94f613fb3c8f377200ea5daca/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-005/5df39d20ceb215cc93831e52bf9a8b27f332e5e94f613fb3c8f377200ea5daca/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1557,
            "mime_type": "image/webp",
            "sha256": "sha256:b1f87960960fd00b23b4496dded66fa2b5751f068ff8e0ee689558522be51537",
            "byte_size": 840050,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-005/5df39d20ceb215cc93831e52bf9a8b27f332e5e94f613fb3c8f377200ea5daca/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-005/5df39d20ceb215cc93831e52bf9a8b27f332e5e94f613fb3c8f377200ea5daca/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-006",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A shirtless person opens a refrigerator covered in colorful magnets in a kitchen.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 427,
            "mime_type": "image/webp",
            "sha256": "sha256:ffa94eec90c5ce8240f50cf3ec733298f83373ff4f7b5d349c658a301e506bbe",
            "byte_size": 39400,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-006/29db1bb746118e074cf6cbad247be4874ada7840fd3b025c37903bd87082a233/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-006/29db1bb746118e074cf6cbad247be4874ada7840fd3b025c37903bd87082a233/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 853,
            "mime_type": "image/webp",
            "sha256": "sha256:d6c7f8b8ba024647cef1e3f96a99d12c837429a32e04b5cb27032ba981d0d4f9",
            "byte_size": 158136,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-006/29db1bb746118e074cf6cbad247be4874ada7840fd3b025c37903bd87082a233/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-006/29db1bb746118e074cf6cbad247be4874ada7840fd3b025c37903bd87082a233/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1600,
            "mime_type": "image/webp",
            "sha256": "sha256:fa68ea818c28e615c377fd521d779ce810417b6fc60fc4424d65b478ece98460",
            "byte_size": 862290,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-006/29db1bb746118e074cf6cbad247be4874ada7840fd3b025c37903bd87082a233/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-006/29db1bb746118e074cf6cbad247be4874ada7840fd3b025c37903bd87082a233/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-007",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A turquoise mountain lake is bordered by evergreen forest and a jagged, snow-dusted mountain range.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 360,
            "mime_type": "image/webp",
            "sha256": "sha256:52c1e505385117bd0339667ee61c70b19879714a48b48ca3256cd92fec02d90e",
            "byte_size": 36326,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-007/02a8ce8495cbea2bce1475a940a436310abc0fd979ff42114f9bf7a1953e9103/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-007/02a8ce8495cbea2bce1475a940a436310abc0fd979ff42114f9bf7a1953e9103/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 720,
            "mime_type": "image/webp",
            "sha256": "sha256:4f91f726853c4e98a3025c4edecfff8051545246d7139d907a13d22a0639ea11",
            "byte_size": 174120,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-007/02a8ce8495cbea2bce1475a940a436310abc0fd979ff42114f9bf7a1953e9103/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-007/02a8ce8495cbea2bce1475a940a436310abc0fd979ff42114f9bf7a1953e9103/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1350,
            "mime_type": "image/webp",
            "sha256": "sha256:4997f1f53f9a3bc11562d8901bd72ee8710f0c3ce742f4c3cead13a70b227a82",
            "byte_size": 755382,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-007/02a8ce8495cbea2bce1475a940a436310abc0fd979ff42114f9bf7a1953e9103/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-007/02a8ce8495cbea2bce1475a940a436310abc0fd979ff42114f9bf7a1953e9103/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-008",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A vertical aerial view shows dense residential roofs meeting an ordered palm plantation along a sharp boundary.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 843,
            "mime_type": "image/webp",
            "sha256": "sha256:655726c8c546d3e3d4b823f1b2d823343773a89fdd7ea3c69de3e60fd6181c6b",
            "byte_size": 212956,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-008/03950568f8819a8209f4931380e05b28b17408679a838f8043987b93d2e7fc3b/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-008/03950568f8819a8209f4931380e05b28b17408679a838f8043987b93d2e7fc3b/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 1686,
            "mime_type": "image/webp",
            "sha256": "sha256:e3d10c47ab3efab2a3dcb7e9be3ae36343e10a82af5a114b5446d0817bcab9ac",
            "byte_size": 736308,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-008/03950568f8819a8209f4931380e05b28b17408679a838f8043987b93d2e7fc3b/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-008/03950568f8819a8209f4931380e05b28b17408679a838f8043987b93d2e7fc3b/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 3161,
            "mime_type": "image/webp",
            "sha256": "sha256:c15ab20d4174349fe31fd675ba20a83e2ce73f12ae1fc55a5cd05573044b7f21",
            "byte_size": 2204002,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-008/03950568f8819a8209f4931380e05b28b17408679a838f8043987b93d2e7fc3b/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-008/03950568f8819a8209f4931380e05b28b17408679a838f8043987b93d2e7fc3b/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-009",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "Black-and-white industrial buildings sit beneath a cloudy sky, with the words NOW IS OUR TIME painted on a wall.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 426,
            "mime_type": "image/webp",
            "sha256": "sha256:72e55121d2828efa102b9fa7878ec54f282ff7e703fe7e1fe8f02b31c6825275",
            "byte_size": 23152,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-009/c6d7f689d7e532cedeaba69270c0775ccf619bbfbbd0f0c5bd9c182e1eb64314/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-009/c6d7f689d7e532cedeaba69270c0775ccf619bbfbbd0f0c5bd9c182e1eb64314/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 851,
            "mime_type": "image/webp",
            "sha256": "sha256:8b7b0be05829428a7a355524cd88187e5a87ab4c2a176456396c8d137f1ff7b6",
            "byte_size": 146068,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-009/c6d7f689d7e532cedeaba69270c0775ccf619bbfbbd0f0c5bd9c182e1eb64314/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-009/c6d7f689d7e532cedeaba69270c0775ccf619bbfbbd0f0c5bd9c182e1eb64314/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1596,
            "mime_type": "image/webp",
            "sha256": "sha256:d453986c8708a416bbf2bcfb87eb107b06e76396de14786539397d2307fae144",
            "byte_size": 823260,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-009/c6d7f689d7e532cedeaba69270c0775ccf619bbfbbd0f0c5bd9c182e1eb64314/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-009/c6d7f689d7e532cedeaba69270c0775ccf619bbfbbd0f0c5bd9c182e1eb64314/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-010",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A bare torso emerges from folds of black fabric against a nearly black background.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 960,
            "mime_type": "image/webp",
            "sha256": "sha256:0ef30e4f2e5b96edeb33f78ca906ba0352331fa1448dbdd8a627b0845ae12f17",
            "byte_size": 8080,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-010/f7445ec2e3d716ac8878ee7538001c1b45a2e29baf6f49fd090b86140ecb8162/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-010/f7445ec2e3d716ac8878ee7538001c1b45a2e29baf6f49fd090b86140ecb8162/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 1920,
            "mime_type": "image/webp",
            "sha256": "sha256:6c9668a3547732a853288008ac60774a8c66d1f9e65a7cb90c197cca2e63731d",
            "byte_size": 21378,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-010/f7445ec2e3d716ac8878ee7538001c1b45a2e29baf6f49fd090b86140ecb8162/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-010/f7445ec2e3d716ac8878ee7538001c1b45a2e29baf6f49fd090b86140ecb8162/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 3600,
            "mime_type": "image/webp",
            "sha256": "sha256:51791ac9835858bf7e7cd06fdfe018ba0f2d986b9e90481e0a7e7419d19f072c",
            "byte_size": 65456,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-010/f7445ec2e3d716ac8878ee7538001c1b45a2e29baf6f49fd090b86140ecb8162/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-010/f7445ec2e3d716ac8878ee7538001c1b45a2e29baf6f49fd090b86140ecb8162/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-011",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A nude figure reclines on an ornate gold chair, wearing bright sandals, with one hand lowering a small dark booklet or document toward the floor; no text is readable on it.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 427,
            "mime_type": "image/webp",
            "sha256": "sha256:14eea8754ea08d39dd5fe39d93f2f69dbce8e18e9f550a10f7e76bc6ec3fc784",
            "byte_size": 15306,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-011/4d7c6e452638a6dd091253bf1cc2c5b14e141920dd72a28dab5085bb7b4526fc/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-011/4d7c6e452638a6dd091253bf1cc2c5b14e141920dd72a28dab5085bb7b4526fc/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-012",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A person stands framed by successive arched doorways inside a heavily damaged building.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 452,
            "mime_type": "image/webp",
            "sha256": "sha256:33d7d68bdd19ec14b018d4da3cc47fdc614dfb1a4d325e3cc6ff3c00b26bea2d",
            "byte_size": 91810,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-012/4c9f68e4eee9cdf87f59cb960cac072dab8ec23e2b60a94095c38969412fa45b/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-012/4c9f68e4eee9cdf87f59cb960cac072dab8ec23e2b60a94095c38969412fa45b/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 904,
            "mime_type": "image/webp",
            "sha256": "sha256:0a5ad28fd5f5861f04fc275c779dc24f4c20f2d5a024e8f72f21aaa2e7cedb20",
            "byte_size": 303892,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-012/4c9f68e4eee9cdf87f59cb960cac072dab8ec23e2b60a94095c38969412fa45b/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-012/4c9f68e4eee9cdf87f59cb960cac072dab8ec23e2b60a94095c38969412fa45b/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1694,
            "mime_type": "image/webp",
            "sha256": "sha256:aee6a534b76098d92cd1f8d3070a6fe188efc19cb8c13b45208a34fddc4633f8",
            "byte_size": 995600,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-012/4c9f68e4eee9cdf87f59cb960cac072dab8ec23e2b60a94095c38969412fa45b/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-012/4c9f68e4eee9cdf87f59cb960cac072dab8ec23e2b60a94095c38969412fa45b/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-013",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "Black keyboard keys spell NO / WHERE / TU on a white surface, while the Esc key sits apart below beside a small ant.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 640,
            "mime_type": "image/webp",
            "sha256": "sha256:98422b16afc8a18d59ec229cbf613405f1368f1607e8547daff2cf15094b76b2",
            "byte_size": 14192,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-013/dab5b9e0e5c82cff338f9f75c401cffe6a8b2a2f13e0b875526753cbc438d541/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-013/dab5b9e0e5c82cff338f9f75c401cffe6a8b2a2f13e0b875526753cbc438d541/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 1280,
            "mime_type": "image/webp",
            "sha256": "sha256:e61d70d1613f809acc5b004a6d9769640237b25e23c76e38c77e6a2c20bc3732",
            "byte_size": 52782,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-013/dab5b9e0e5c82cff338f9f75c401cffe6a8b2a2f13e0b875526753cbc438d541/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-013/dab5b9e0e5c82cff338f9f75c401cffe6a8b2a2f13e0b875526753cbc438d541/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 2400,
            "mime_type": "image/webp",
            "sha256": "sha256:d3c5d998f2790e043b5b2883e7cbe25fcbb03ef34d04850758d8aa05064b4959",
            "byte_size": 144246,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-013/dab5b9e0e5c82cff338f9f75c401cffe6a8b2a2f13e0b875526753cbc438d541/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-013/dab5b9e0e5c82cff338f9f75c401cffe6a8b2a2f13e0b875526753cbc438d541/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-014",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "The camera looks upward through a dark, fluted circular structure toward a small opening of sky.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 450,
            "mime_type": "image/webp",
            "sha256": "sha256:6d823740d55efbb5b372297e7a13dd9e66a4e44f3b8ec3dfe9af8c19ebca5c45",
            "byte_size": 36502,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-014/caff170b0ba35c185f75c6e436c2557a9ef1743c399ca07dbb08848777239d03/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-014/caff170b0ba35c185f75c6e436c2557a9ef1743c399ca07dbb08848777239d03/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 900,
            "mime_type": "image/webp",
            "sha256": "sha256:9f76888d88d583be54d4a283fac16543cb4ef6c816978035a38320c83afb927e",
            "byte_size": 126870,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-014/caff170b0ba35c185f75c6e436c2557a9ef1743c399ca07dbb08848777239d03/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-014/caff170b0ba35c185f75c6e436c2557a9ef1743c399ca07dbb08848777239d03/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1688,
            "mime_type": "image/webp",
            "sha256": "sha256:2d64c95288438aa6fbab43b5c75a0eac9d9871f5e98c10bc87d4c726c3f5299a",
            "byte_size": 641796,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-014/caff170b0ba35c185f75c6e436c2557a9ef1743c399ca07dbb08848777239d03/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-014/caff170b0ba35c185f75c6e436c2557a9ef1743c399ca07dbb08848777239d03/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-015",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "Two people lean from the windows of a weathered teal train; one wears a bright orange head covering.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 914,
            "mime_type": "image/webp",
            "sha256": "sha256:848332c688bdce2a24c6e5482b8e13d48651f53b9cce941a745eff8435798c72",
            "byte_size": 56190,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-015/2e2a0c1d7ace2f24a15d5a0e2c448b38756c86fab8e31b66a04d797ba3d22a12/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-015/2e2a0c1d7ace2f24a15d5a0e2c448b38756c86fab8e31b66a04d797ba3d22a12/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 1829,
            "mime_type": "image/webp",
            "sha256": "sha256:d01bc25cd64b7a7433514965942d9870887ff7e44c0cee6db300670402593df7",
            "byte_size": 281082,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-015/2e2a0c1d7ace2f24a15d5a0e2c448b38756c86fab8e31b66a04d797ba3d22a12/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-015/2e2a0c1d7ace2f24a15d5a0e2c448b38756c86fab8e31b66a04d797ba3d22a12/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 3429,
            "mime_type": "image/webp",
            "sha256": "sha256:5a904e0b374a324d075ba1e525844f6de9332ec4524d6070e4cb5b4b34344537",
            "byte_size": 1271516,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-015/2e2a0c1d7ace2f24a15d5a0e2c448b38756c86fab8e31b66a04d797ba3d22a12/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-015/2e2a0c1d7ace2f24a15d5a0e2c448b38756c86fab8e31b66a04d797ba3d22a12/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-016",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A small white house with a red roof stands on a hill beneath a starry sky, beyond a lit gate with a posted sign and a silhouetted figure.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 512,
            "mime_type": "image/webp",
            "sha256": "sha256:3e67afb1dd61d7fd5ead222637ca0c435d7db680e70a4c485377aa13b047a65f",
            "byte_size": 24194,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-016/6f2e18606cc3fc4c3af0fadb3a275ef0a739c00463481bfb5fa511be238f5b73/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-016/6f2e18606cc3fc4c3af0fadb3a275ef0a739c00463481bfb5fa511be238f5b73/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 1024,
            "mime_type": "image/webp",
            "sha256": "sha256:057c40778d9428e6b1469e3e72c995fb9a43ca02d3b9aab07991b9c09ddf4996",
            "byte_size": 114054,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-016/6f2e18606cc3fc4c3af0fadb3a275ef0a739c00463481bfb5fa511be238f5b73/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-016/6f2e18606cc3fc4c3af0fadb3a275ef0a739c00463481bfb5fa511be238f5b73/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1920,
            "mime_type": "image/webp",
            "sha256": "sha256:24271a75f11bef7e0a531af4e7fbd52796b6d07a11d86bdc4ff2fae1d7783a9f",
            "byte_size": 358130,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-016/6f2e18606cc3fc4c3af0fadb3a275ef0a739c00463481bfb5fa511be238f5b73/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-016/6f2e18606cc3fc4c3af0fadb3a275ef0a739c00463481bfb5fa511be238f5b73/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    }
  ]
}

Keys and Gates - current publication-boundary correction

# Keys and Gates - current publication-boundary correction

**Record ID:** `6529NM-AP-01-PUBLICATION-AUTHORITY-2026-08-08-007`<br>
**Supersedes for the current publication boundary:** [amendment 005](publication-authority-amendment-2026-08-08-005.md)<br>
**Record type:** append-only derived publication-boundary amendment<br>
**Revision:** 1<br>
**Issued:** 8 August 2026<br>
**Constructor:** 6529 Network Museum, Curatorial Research and Registrar<br>
**Independent exact-commit review:** pending; reviewer identity and review time are not asserted

This append-only amendment corrects the current status wording without
rewriting the historical accessibility or publication-authority records. It
separates the construction of the written scholarship from the unresolved
controls for images.

The Museum-authored catalogue, curatorial essay, artist profiles, work text,
and source notes are complete as a written editorial edition and may be
published as text. That is a statement about the constructed scholarship and
its textual publication scope. It is not independent approval, a legal rights
grant, image-display approval, accessibility approval, sensitive-subject
authorization, acquisition, or accession.

Exact-commit independent review remains pending. The accessibility descriptions
remain `constructed_visual_description_pending_independent_review`; no
accessibility status is promoted. Image display, image-specific rights and
consent, sensitive-subject authorization, and image delivery remain pending.
Existing derivative paths and technical readbacks record bytes and delivery
infrastructure only; they do not approve delivery.

## Current boundary

| Area | Current status | Boundary |
|---|---|---|
| Written scholarship | Constructed and complete as text for this editorial edition | No independent exact-commit approval is asserted |
| Museum-authored catalogue text | May be published as text within the stated edition | This does not approve any image or third-party material |
| Accessibility descriptions | `constructed_visual_description_pending_independent_review` | Independent visual review is still required |
| Image display and delivery | Not approved by this current amendment | Technical derivatives remain lineage/evidence records only |
| Sensitive-subject authorization | Pending work-specific review | No private fact, consent instrument, or hidden authorization is inferred |

## Outcomes with no visual-display approval

The following outcomes have no visual-display approval in the current public
edition. Their text may remain in the written scholarship, but their visitor
page images are withheld pending the exact-commit review and the work-specific
questions below.

| Outcome | Reason the image is not approved for visual display or delivery |
|---|---|
| OUT-004 | The submission describes two distant figures as the artist's children and represents that consent documentation is available. No consent instrument is retained in the Museum record; the figures' ages and the privacy/consent scope remain unverified. The non-identifying 640 derivative does not resolve those authorization questions. |
| OUT-010 | The image shows a nude or near-nude torso with the head concealed. The public record does not establish the subject's identity, adult status, self-portrait status, or consent/publication scope, and no private instrument is retained. The Museum makes no assumption about any of those facts. |
| OUT-011 | The image shows a nude sitter holding a booklet or document. The artist represents that written consent documentation is available, but no consent instrument is retained; direct subject approval, document-legibility, venue permission, sensitive biography, and publication scope remain open. The 640 derivative's reduced legibility does not itself authorize display or delivery. |

These are evidence boundaries, not findings about undisclosed private facts. The
public record retains only the artist's representations, visible material, and
the unresolved review questions stated above.

## Delivery and lineage

The OUT-004 and OUT-011 technical amendments record exact derivative
invalidation/readback and retained fixity. The media join records the OUT-010
derivative inventory. Those records preserve derivation and lineage; they are
not image-display approval or delivery authorization. The three visitor Work
pages therefore retain the constructed descriptions and scholarship text while
withholding the image embeds.

The earlier [publication-authority candidate](publication-authority-amendment-2026-08-08-005.md)
remains part of the append-only history. Its `PROVISIONAL_EDITORIAL_DISPLAY_LIMITED`
rows are not independent approval and do not supersede this current
image-display hold.

## Revision history

- **1 - 8 August 2026:** Separated complete written scholarship from pending exact-commit review, kept accessibility pending, and recorded the no-visual-display and no-delivery boundary for OUT-004, OUT-010, and OUT-011.

Keys and Gates publication integration — current state

# Keys and Gates publication integration — current state

**Record ID:** `6529NM-AP-01-PUBLICATION-INTEGRATION-2026-08-08`<br>
**Scope:** current illustrated accession-publication candidate for Curated Acquisition `6529NM-CA-2026-002`<br>
**Record role:** public integration state; not a schema, release manifest, catalog, acquisition, accession, or rights decision

The typed projection is now present as a governed, review-pending candidate. It
keeps the source aliases, public routes, and independent lifecycle facts
separate. No entity is `published`, and no typed projection claims minting,
purchase, title, custody, accession, Collection membership, or display
authorization.

**Visitor state:** Selected through the Keys and Gates acquisition program;
acquisition pending. **Mint qualifier:** Not yet minted; minting route under consideration.

## Governed typed state

| Projection | Typed identity | Public source | Current status |
|---|---|---|---|
| Program | `6529NM-AP-ENT-0002` (source alias `6529NM-AP-01`) | [program record](../program.json) | `review_pending` |
| Curated Acquisition (CA) | `6529NM-CA-2026-002` | [Curated Acquisition](curated-acquisition.md) | `review_pending` |
| Artist | `6529NM-ART-0002`–`6529NM-ART-0016` (15 entities) | [artist profile example](artists/gulyildiz.md) and sibling `artists/*.md` pages | `review_pending` |
| Work | `6529NM-W-0008`–`6529NM-W-0023` (16 entities) | [Work page example](works/take-the-key.md) and sibling `works/*.md` pages | `review_pending` |
| Media | `6529NM-MED-0020`–`6529NM-MED-0035` (16 entities) | [media joins](media-joins.md) and [program media manifest](../media-manifest.json) | `review_pending` |
| Research Publication (RP) | `6529NM-RP-0002` (new) | [Access, Control, and Exit](curatorial-essay.md) | `review_pending` |

The Program governs the CA; the CA retains the sixteen selected outcome
aliases; each Work retains its OUT alias, Artist creator, `not_in_collection`
state, and typed Media reference; and RP `6529NM-RP-0002` interprets the CA
and discusses its Works and Artists. The new RP identity is recorded here as
review-pending integration state; its exact catalog pointer is not yet
available.

## Current public boundary

The Work pages combine captions, close looking, sources, and typed Media
references. All sixteen Works have Museum-hosted WebP presentation media under
[the current display authority](media-display-authorization-amendment-2026-08-11.md).
Fourteen use 640, 1280, and 2400 pixel derivatives; OUT-004 and OUT-011 use the
640 pixel derivative only. The images appear in program, acquisition, artist,
and Work contexts without download, IIIF, preservation-master, mint, title,
custody, accession, or Collection claims. All sixteen accessibility
descriptions are `constructed_visual_description_reviewed` under the
[independent review record](accessibility-review-2026-08-11.md).

The special image cautions remain explicit: OUT-004 has unverified
depicted-figure ages and consent/privacy scope; OUT-010 has unresolved identity,
adult-status, self-portrait, and consent/publication-scope questions; and
OUT-011 has unresolved direct subject approval, document legibility, venue
permission, sensitive biography, and publication scope. Historical technical
derivation remains in the append-only source record.

## Relations and activation gate

The public relationship set remains:

    Program 6529NM-AP-ENT-0002
      -> produces -> Curated Acquisition 6529NM-CA-2026-002
    Curated Acquisition 6529NM-CA-2026-002
      -> brings together -> Work 6529NM-W-0008 ... 6529NM-W-0023
    Work
      -> created by -> Artist
      -> has media -> Media
    Research Publication 6529NM-RP-0002
      -> interprets -> Curated Acquisition 6529NM-CA-2026-002
      -> discusses -> Work and Artist

Public activation remains pending a fresh exact-commit independent review and a
catalog pointer/readback that binds RP `6529NM-RP-0002`, the governed typed
records, the illustrated candidate, and the atomic visitor release. Until both
gates are complete, this record must not be treated as a published catalog
entry or activation receipt.

The [institutional record](institutional-record.md), [media joins](media-joins.md),
[rights and consent record](rights-and-consent.md), and [curatorial essay](curatorial-essay.md)
remain the supporting public record. Source aliases `OUT-001` through
`OUT-016` and the public page routes remain unchanged.

Keys and Gates — public scholarship corpus

# Keys and Gates — public scholarship corpus

This directory is the initial public-facing scholarship layer for the Keys and Gates program. It is deliberately isolated from the shared machine-readable record schemas and controlled vocabularies owned by WP-1.

## Publication status

Keys and Gates is a public photographic acquisition page linked to Curated Acquisition `6529NM-CA-2026-002` and Acquisition Program `6529NM-AP-01`. It presents sixteen photographs selected in 2026. Visitor state: **Selected through the Keys and Gates acquisition program; acquisition pending. Not yet minted; minting route under consideration.** The supporting institutional record retains the formal lifecycle evidence and registrar boundary.

The public catalogue is linked to Acquisition Program `6529NM-AP-01` and its program Wave. It does not replace or amend the canonical program and outcome records.

## Corpus map

- [Keys and Gates overview](curated-acquisition.md)
- [Research publication: *Access, Control, and Exit*](curatorial-essay.md)
- [Sixteen work treatments](works/)
- [Fifteen distinct artist profiles](artists/)
- [Verified and attributed project/site context](contexts/)
- [Source, bibliography, and chronology register](sources-and-bibliography.md)
- [Rights and consent boundary](rights-and-consent.md)
- [Media and accessibility record](media-joins.md)

## Work index

- [OUT-001 — *Take the Key!*](works/take-the-key.md)
- [OUT-002 — *the Artist in the Open Sea*](works/the-artist-in-teh-open-sea.md)
- [OUT-003 — *Managed Freedom*](works/managed-freedom.md)
- [OUT-004 — *No Key, Only Light*](works/no-key-only-light.md)
- [OUT-005 — *Residual Barrier*](works/residual-barrier.md)
- [OUT-006 — *The Hostile Gate*](works/the-hostile-gate.md)
- [OUT-007 — *the cost of open*](works/the-cost-of-open.md)
- [OUT-008 — *Dichotomy.*](works/dichotomy.md)
- [OUT-009 — *Now Is Our Time*](works/now-is-our-time.md)
- [OUT-010 — *Checkpoint*](works/checkpoint.md)
- [OUT-011 — *Sina Beizavi in Brazil*](works/sina-beizavi-in-brazil.md)
- [OUT-012 — *Rusted*](works/rusted.md)
- [OUT-013 — *Nowhere To Esc.*](works/nowhere-to-esc.md)
- [OUT-014 — *Morning Glory*](works/morning-glory.md)
- [OUT-015 — *Fight for Freedom*](works/fight-for-freedom.md)
- [OUT-016 — *No Access*](works/no-access.md)

## Artist index

[GulYildiz](artists/gulyildiz.md) · [HugoFaz](artists/hugofaz.md) · [nasimghanizadeh](artists/nasimghanizadeh.md) · [intrepid](artists/intrepid.md) · [ikertje](artists/ikertje.md) · [GIANT](artists/giant.md) · [priyanka](artists/priyanka.md) · [Rakesh](artists/rakesh.md) · [pandelic](artists/pandelic.md) · [Minalisa](artists/minalisa.md) · [Teyhu](artists/teyhu.md) · [arsonic](artists/arsonic.md) · [Zoku](artists/zoku.md) · [shamspranto](artists/shamspranto.md) · [Veerendra](artists/veerendra.md)

Registrar, schema, and integration records remain available through the research record and contextual links, but are not part of the default visitor navigation.

## Editorial method

Each work page separates:

1. what the governed visual description records from the historical presentation review;
2. what the artist supplied in the submission;
3. what public sources independently support; and
4. what remains unknown or requires registrar confirmation.

Artist intent is attributed to the artist's submission. Public biographical material is source-graded and kept minimal where identity or biography is unresolved. The pages avoid publishing private contact information, legal identity assumptions, sensitive location detail, document identifiers, or consent instruments.

## Media boundary

The program media manifest preserves source observations, deterministic transform metadata, and constructed visual descriptions. The [current image presentation authorization](media-display-authorization-amendment-2026-08-11.md), authority `6529NM-AP-01-MEDIA-DISPLAY-2026-08-11-009`, releases contextual Museum-hosted presentation surrogates for all sixteen selected works. The active set contains **44 responsive WebP derivatives**: fourteen works at 640, 1280, and 2400 pixels, and OUT-004 and OUT-011 at 640 pixels only. The authorization is for visual encounter in the Museum publication; it does not complete minting or acquisition, activate prospective CC0 terms, admit a work to the Collection, or permit downloads. The earlier [media-delivery withdrawal](media-delivery-withdrawal-amendment-2026-08-09.md) remains in the append-only history. The [OUT-002 title-display amendment](title-display-amendment-2026-08-18.md) corrects an obvious transposition in visitor-facing labels while preserving the submitted title in the archival outcome.

## Review state

This is an initial public edition for editorial, registrar, rights, and artist review. The final acquired quantity may be fewer than sixteen because availability, terms, rights, documentation, and program quantity remain open. Corrections must be append-only and must preserve the underlying selected-outcome evidence.

Keys and Gates — rights and consent boundary

# Keys and Gates — rights and consent boundary

This register records the selected submissions, the Museum's visual review, and the permissions still to be confirmed. The program terms call for CC0 and written consent for depicted people where applicable. An artist's statement of consent is evidence of that statement; it is not an executed Museum instrument. The [publication boundary](publication-authority-amendment-2026-08-08-007.md) permits the constructed scholarship to proceed as text. The [current media-delivery amendment](media-delivery-withdrawal-amendment-2026-08-09.md) withholds all sixteen images pending exact-commit review, accessibility review, and image-specific authority.

Creative Commons explains that a CC0 dedication addresses copyright while personality, privacy, publicity, and trademark rights may remain. The same separation applies to site permissions, graffiti, posters, passports, physical miniatures, and third-party materials. See the [CC0 and NFTs FAQ](https://creativecommons.org/cc-and-nfts/) and the [institutional record](institutional-record.md).

## Publication layers

| Layer | Current treatment |
|---|---|
| Public scholarship | Artist handle, source-graded public biography, selected-work metadata, artist-attributed caption, close looking, context links, current media join, and explicit unknowns. |
| Public presentation | All sixteen works have authority-bound Museum-hosted WebP presentation media. Fourteen works use 640, 1280, and 2400 pixel derivatives; OUT-004 and OUT-011 use 640 pixels only. Display is contextual and does not settle rights, consent, title, custody, acquisition, accession, or Collection membership. |
| Potential future registrar layer | If received, legal identity and authority documents, consent/model releases, sensitive locations, unredacted passport/document details, original high-resolution source, layered files, transaction/title/custody evidence, and preservation packages would be handled there. No such private instrument is retained in this Museum record. |
| Unresolved | Any use that requires a rights instrument, depicted-person consent, site permission, third-party clearance, or acquisition/accession evidence not currently retained. |

## Presentation authority boundary

The written scholarship and Museum-authored catalogue text may be published in the current edition. The sixteen works have contextual Museum-hosted presentation media under authority `6529NM-AP-01-MEDIA-DISPLAY-2026-08-11-009`: fourteen works at 640, 1280, and 2400 pixels, and OUT-004 and OUT-011 at 640 pixels only. These presentation copies are distinct from source originals and preservation masters; their display does not activate conditional CC0 language, grant reuse rights, or determine future on-chain rights. All sixteen visual descriptions passed the [independent accessibility review](accessibility-review-2026-08-11.md). OUT-004, OUT-010, and OUT-011 retain work-specific cautions and contextual limits. The program terms, source/display distinction, and transform controls are recorded in [`docs/programs/keys-and-gates.md`](../../../../docs/programs/keys-and-gates.md), [`docs/program-media-delivery.md`](../../../../docs/program-media-delivery.md), the [display authority](media-display-authorization-amendment-2026-08-11.md), and the [institutional record](institutional-record.md).

## Work-by-work matrix

| Outcome | Visible people / material | Submitted rights or consent assertion | Public risk and current boundary | Priority gate |
|---|---|---|---|---|
| OUT-001 | One figure seen from behind before a patterned gate; architectural/sacred-space setting | Conditional CC0; no consent representation located | Public visual description may avoid identity; figure consent and exact venue remain open | Confirm figure identity/consent, venue, authorship, and effective CC0. |
| OUT-002 | Performer in a white tub/boat amid traffic; composite/long exposure | Conditional CC0/full-rights statement; no separate performer release | Staging, public-safety, performer likeness, and composite-source permissions unresolved | Obtain performer consent, staging permissions, original workflow, and effective CC0. |
| OUT-003 | Rider on a rearing horse; herd, dogs, and possible other people | Conditional CC0; no consent representation | Rider and animal-owner/site permissions are unknown; do not infer identity | Confirm rider/model status, horse/site permission, and source/editing history. |
| OUT-004 | Two distant silhouetted figures in a fort passage; no identifying detail was visible in the historical 640px review copy | The submission describes the figures as the artist’s children and represents consent documentation is available; the program terms exclude identifiable minors | Contextual display is authorized under the current image authority. No consent instrument is retained; the figures’ ages and privacy/consent scope remain unverified. | Confirm the represented consent coverage, safe public wording, source privacy review, and high-resolution scope. No universal private-release doctrine is inferred. |
| OUT-005 | No person was visible in the historical review copy; graffiti and weathered wall | “CCO”/conditional declaration; no people-consent issue visible | Third-party graffiti, slogan, removed building, exact Berlin segment, and alteration rights open | Confirm exact site, visible-mark rights, Photoshop removal, and CC0. |
| OUT-006 | Artist’s own nude/partially nude self-portrait; tattoo, magnets, domestic objects | Conditional CC0; artist represents written self-consent | A self-portrait does not presume a separate third-party model release; nudity, body-image sensitivity, visible marks/objects, and publication scope remain review points | Confirm self-representation, self-consent/publication scope, content notice, object/mark rights, and source file. |
| OUT-007 | No identifiable person was visible in the historical review copy; landscape and possible distant visitors | Conditional CC0; no consent issue stated | Source-resolution visitors, access/permit conditions, and public-landscape rights remain open | Confirm source crop/visitors, capture permission, and effective CC0. |
| OUT-008 | No identifiable person was visible in the historical review copy; private homes and possible secure facility | Conditional CC0; no consent representation | Drone privacy, security, facility identification, and flight authorization are material | Confirm exact location, authorization, safe publication wording, and source metadata. |
| OUT-009 | No person was visible in the historical review copy; graffiti, slogan, industrial property | Conditional CC0; no people-consent representation | Anonymous/third-party graffiti and site-controlled imagery may carry separate rights | Confirm slogan/graffiti authorship or clearance, exact RAW structure, and CC0. |
| OUT-010 | Nude/near-nude torso with head hidden; subject identity and adult status unresolved | Artist states rights over the work and written consent for depicted persons; conditional CC0 | Contextual display is authorized under the current image authority. Identity, adult status, self-portrait status, and consent/publication scope remain unresolved; no private instrument is retained. | Confirm whether the image is self-portraiture; if not, confirm subject adult status and consent scope, then review the content notice, location boundary, source retention, and publication scope. |
| OUT-011 | Nude subject, sunglasses, sandals, and a small booklet/document in a Casa NUA room; the submission names the sitter | Artist represents written consent is available; conditional CC0 | Contextual 640px display is authorized under the current image authority. The presentation copy does not make document identifiers readable, but subject approval, venue permission, sensitive biography, and publication scope remain open; no consent instrument is retained. | Confirm direct subject approval, document-legibility at any approved size, larger/source treatment, and venue permission. Artwork display and biography/document republication remain separate decisions. |
| OUT-012 | Distant figure presented as self-portrait; damaged Iranian interior | Direct/conditional CC0; artist says consent documents exist | Self-portrait/likeness, site security, country-level location, and original workflow open | Confirm self-portrait instrument, exact site privately, safe publication, and source file. |
| OUT-013 | Small ant beside keyboard keys; no human visible | Conditional CC0; humorous “consent” statement about ant | Human consent not triggered on visible evidence; animal handling, keycap/brand rights, and compositing open | Confirm staging, animal welfare, keyboard provenance, and original/layered files. |
| OUT-014 | No people visible; San Roque spillway/infrastructure | Conditional CC0; no consent representation | Operator/site permission and exact mechanism/operation claim open; avoid sensitive access detail | Confirm location/viewpoint, site permission, engineering wording, and source. |
| OUT-015 | Two women in train windows; poster/collage elements | Artist represents that written consent exists; conditional CC0 | The public record names neither woman and withholds private relationship details; consent scope and poster/collage rights remain unresolved | Confirm consent scope for both visible people without assuming identity or relationship publication; verify poster/collage provenance, title/transliteration, and layered-source treatment. |
| OUT-016 | Miniature house/gate and a silhouette that may be a prop or person | Conditional CC0; no people-consent representation | Miniature ownership/material provenance, third-party elements, and silhouette status open | Confirm physical construction, all components, figure status, source stack, and CC0. |

## Current public-safe wording

The public corpus may say that the sixteen works were selected, that each has a source record and a deterministic presentation join, and that the artist supplied the statements and declarations recorded on each work page. It may describe visible people only as documented in the historical review observations, without adding names, ages, sensitive biography, or consent conclusions. It may link to public artist and institutional sources while grading them and preserving unresolved identity bridges.

The corpus should use “conditional CC0 declaration,” “artist represents,” “consent status requires review,” “location withheld,” or “source-level verification pending” where those are the evidence-backed facts. It should not use “cleared,” “licensed,” “released,” “public domain,” “Museum-owned,” or “rights-free” for a selected outcome without an executed instrument and registrar determination.

## Display-specific ethical basis

The written scholarship and Museum-authored catalogue text may be published within the current editorial scope. The current image authority permits contextual presentation of the Museum-hosted derivatives; it does not close the image-specific rights, consent, accessibility, or acquisition questions. OUT-004, OUT-010, and OUT-011 retain additional depicted-person, sensitive-subject, document, venue, privacy, and age questions in the public record. Historical derivation metadata remains source evidence and carries no inference of effective CC0, a model release, unrestricted reuse, or acquisition authority.

## Open rights questions

As downstream accession processing proceeds, the registrar should resolve the image-specific boundaries for OUT-004, OUT-010, OUT-011, and OUT-015; drone, site, graffiti, poster, miniature, and staged-scene permissions for the relevant works; and the exact CC0 instrument where the submission uses conditional or CCO wording. OUT-004 requires confirmation of the represented consent coverage and safe wording for the distant silhouettes; the historical presentation review did not establish that the figures are minors. OUT-010 requires a self-portrait or subject-authority determination. OUT-011 requires direct subject approval for the nude display, a document-legibility check at the approved size, and venue review; sensitive biography is omitted from this edition. OUT-015 requires consent-scope and poster/collage review for both visible people. These are concrete publication and acquisition questions, not a blanket release doctrine. Direct artist questions remain to be resolved; no consent or source instrument is retained in this public Museum record. If a future document is received, it would enter a restricted registrar layer and is not exposed in this public corpus.

WP-1 schema and vocabulary dependencies

# WP-1 schema and vocabulary dependencies

This WP-4 corpus is isolated content plus one narrowly scoped program-media control correction. It does not redefine WP-1 schemas, controlled vocabularies, record envelopes, or shared ontology files.

## Required integration dependencies

The content layer expects downstream integration to use the existing WP-1-owned definitions for:

- stable identifiers `6529NM-AP-01` and `6529NM-AP-01-OUT-###`;
- lifecycle state `selected_unminted` and the program status `selection_complete_acquisition_and_accession_unverified`;
- `ACCESSION_PROGRAM`, `PROGRAM_OUTCOME_INDEX`, and `PROGRAM_OUTCOME` schemas;
- the distinction among a Work, a documentation/presentation surrogate, a chain asset, a manifestation, an event/activity, an agent, a right/permission, evidence, a record, and a package;
- evidence grades, source-status semantics, observation times, fixity, and negative evidence;
- append-only corrections with `supersedes` rather than silent historical rewrites;
- Stream-compatible record envelopes, subject derivation, schema identifiers, hash algorithms, and CAIP-19-shaped on-chain citations;
- rights vocabulary and object-specific rights-effective status;
- program media-manifest joins and the source/presentation-surrogate/preservation-object boundary;
- the existing `schemas/program-media-manifest.schema.json` control, whose accessibility status vocabulary records the independently reviewed state `constructed_visual_description_reviewed`; and
- public/restricted record separation and public-safety scanning.

## Suggested future content relations

When WP-1 integrates the corpus, the projection can be related as:

```text
Curated Acquisition 6529NM-CA-2026-002
  produced by / governed through -> Acquisition Program 6529NM-AP-01
  has selected outcome -> 6529NM-AP-01-OUT-001 ... OUT-016
  has public scholarship -> this Markdown corpus
  has technical presentation -> existing PROGRAM_MEDIA_MANIFEST
```

The relation is descriptive only. It must not be serialized as an accession, Collection membership, custody event, title binding, mint, purchase, or rights grant until the relevant control-plane evidence exists.

## Deliberate non-changes

WP-4 does not:

- create a new schema profile or controlled term for “Curated Acquisition”;
- change the canonical selected-work title, status, source hash, or evidence files;
- normalize legal names from unverified public leads into authoritative identity records;
- convert the presentation derivatives into preservation masters or tokenized works;
- assert that the planned custody reference `networkmuseum.6529.eth` has received any asset;
- decide the future mint topology between a dedicated 6529Stream instance and a main-Stream subcollection.

The program-media status correction is not a WP-1 ontology change. It is an implementation dependency for the typed media manifest, accessibility JSON, generator, and tests; WP-1 integration should preserve the derived amendment and its one-to-one media joins.

Keys and Gates — sources, bibliography, and chronology

# Keys and Gates — sources, bibliography, and chronology

This register supports the public corpus. It distinguishes canonical Museum records, direct program submissions, artist-controlled pages, independent/public biographies, and institutional context sources. Web sources were reviewed on `2026-08-08` UTC unless a local record gives a different observation time.

## Source grades

- **A — canonical or submitted evidence:** Museum-retained program/outcome record, direct Wave submission, or artist statement supplied with the selected outcome.
- **B — institutional or independent corroboration:** official site, public institution, scholarly catalogue, or reputable independent profile.
- **C — artist/platform context:** artist website, 6529 profile, Linktree, or platform page useful for public context but not sufficient alone for legal authority.
- **D — identity lead:** weak, indirect, or ambiguous association kept for correspondence only.
- **U — unresolved:** a conflict, missing instrument, or unsupported claim requiring direct review.

## Canonical Museum sources

| Source | Use |
|---|---|
| [`program.json`](../program.json) | Program rules, status, Wave, price, planned custody reference, registrar gates, and non-claims. Grade A. |
| [selected-works.json](../selected-works.json) | Sixteen ranked outcomes, handles, titles, selection status, and submission identifiers. Grade A for the submitted record; visitor-facing titles follow the Museum’s recorded display amendments. |
| [`outcomes/OUT-001.json`](../outcomes/OUT-001.json) through [`OUT-016.json`](../outcomes/OUT-016.json) | Direct submission text, artist declarations, source fixity, media linkage, and per-work rights/consent assertions. Grade A for the submitted assertion; not an executed rights instrument. |
| [`media-manifest.json`](../media-manifest.json) | Source observations, source hash/dimensions, deterministic transform metadata, and the current zero-derivative delivery state. Grade A for the recorded technical observation; not preservation or rights evidence. |
| [Current media-delivery amendment](media-delivery-withdrawal-amendment-2026-08-09.md) | Current all-sixteen image withdrawal, exact prior candidate commitment, and restoration gate. Grade A for the repository state and technical control. |
| [`docs/programs/keys-and-gates.md`](../../../../docs/programs/keys-and-gates.md) | Public program summary and status boundary. Grade A for the repository’s public control note. |
| [`notes/research/keys-and-gates-evidence.md`](../../../../notes/research/keys-and-gates-evidence.md) | Source/fixity inventory, Wave response review, selected-outcome evidence, negative mint/custody findings, and registrar uncertainties. Grade A/C constructed research. |
| [`docs/program-media-delivery.md`](../../../../docs/program-media-delivery.md) | Web-presentation transform, source/surrogate distinction, accessibility status, and rights boundary. Grade A active technical profile. |
| [`docs/data-architecture/profile.json`](../../../../docs/data-architecture/profile.json) | Working ontology and relation context; not adopted governance. Grade A for current working standard. |

## Direct selected-outcome source register

Every link below opens the program Wave at the selected submission drop. The direct submission title field was empty in the retained API responses; titles below follow the first heading/artist text retained in each outcome record and remain subject to artist authority review.

| Outcome | Rank / serial | Artist | Title | Direct source | Submission-content SHA-256 |
|---|---:|---|---|---|---|
| OUT-001 | 1 / 1085874 | GulYildiz | *Take the Key!* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=c3283930-101e-4e3a-b921-57d81649ca81) | `sha256:9ea93ea62fd6bd805cd298169e78dbb6628f29f957ad6935bae209cab9582138` |
| OUT-002 | 2 / 1171592 | HugoFaz | *the Artist in the Open Sea* ([display amendment](title-display-amendment-2026-08-18.md)) | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=35efbf4c-2633-4b14-aa6a-82ea7660b6b9) | `sha256:1984e94dbe7417b071dcf35af0b359f6375e5b14a242817880aaef9093c304a3` |
| OUT-003 | 3 / 980507 | nasimghanizadeh | *Managed Freedom* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=b47b7d58-6276-45ba-b707-ec0f623e39e2) | `sha256:48d3c7657b0c3b51402580b788e536e378c45c17d8df1bb54cdabad2aaf57052` |
| OUT-004 | 4 / 1152154 | intrepid | *No Key, Only Light* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=57c49f95-7854-4a2a-ba2c-d448bc7827fc) | `sha256:4eb3da8002606b875c5e8be662244d09337be77eb00b6a570d7256712f06d054` |
| OUT-005 | 5 / 981298 | ikertje | *Residual Barrier* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=52631c54-fcce-46e7-b88c-5100de46734c) | `sha256:87ef3daea36e02e1c5517ea18d26cc17e83dfa0bc72cc42188c60972cf71de4a` |
| OUT-006 | 6 / 1157117 | GIANT | *The Hostile Gate* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=73ecf8fc-9bde-492d-a624-39d0dd547587) | `sha256:9c41a16040a3af990fcd4685ee7c6f735fb486201ed0d83bc9f94e7fbb86d693` |
| OUT-007 | 7 / 1147422 | priyanka | *the cost of open* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=f24313f0-b335-4c16-9052-3a689f82f188) | `sha256:2453e5abd616ecea4d290f39b7baaf51d1f531a817473263a9437d067c458b0c` |
| OUT-008 | 8 / 973173 | Rakesh | *Dichotomy.* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=aa257b16-4309-48b6-9033-1e3d7fb9016d) | `sha256:8c43b3ca228e34987ffc46b0b825058c49d227826173c8f9ef29fd4ad69f22b7` |
| OUT-009 | 9 / 1029013 | pandelic | *Now Is Our Time* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=a9e1af00-7ac7-4b7d-a39e-31c7a662ee28) | `sha256:7db473bf65d0bbd631312deeb4fb8831502b777f512378f32d227ea4ed839d08` |
| OUT-010 | 10 / 1066664 | Minalisa | *Checkpoint* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=d68542bc-f05e-4f23-ae8b-fac730cd4b7b) | `sha256:534912e35abb0530aa8d26d6b73575cbc9f2c29fd2a218762551b418c7041adb` |
| OUT-011 | 11 / 1167034 | HugoFaz | *Sina Beizavi in Brazil* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=52b6f536-3ebc-4bf5-b7da-2ed775df7ad3) | `sha256:091bdabc3d668c143272ba9e275671191a95d90e78b1e4929291405691b6be14` |
| OUT-012 | 12 / 1002997 | Teyhu | *Rusted* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=7d3a31f8-41bf-4fc5-8756-ed67eccdcc96) | `sha256:41125d71170e32dd2a0ab778710d3f89b4892eb54e32971c3c6796abe38c570c` |
| OUT-013 | 13 / 1004919 | arsonic | *Nowhere To Esc.* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=51982d19-395a-4eaa-866c-8e89aa952cbb) | `sha256:941dabeb63fbcac5279dd767469aa084c39d6241f174d19b472f074c655f433b` |
| OUT-014 | 14 / 991838 | Zoku | *Morning Glory* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=dc75fe32-f3c2-49db-9069-d9975b5964f3) | `sha256:011d39808b3920d8056c607a0ee7705f4fb05e181c1cda44e87bcb5ff284f719` |
| OUT-015 | 15 / 993675 | shamspranto | *মুক্তিযুদ্ধ - Fight for Freedom* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=8ac2b1b8-64f9-48ef-b41b-04ee3a9ba3ab) | `sha256:2200f9952e8cd55ce105129eade6d8c818b70b276df73cb57854f12a9a6488d0` |
| OUT-016 | 16 / 1058703 | Veerendra | *No Access* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=13407a59-3b86-4a04-b68e-87e818ed3766) | `sha256:957b974fa7427a53520007861edfdb84b8dd0fe3cf70100b56f11cfe6c701dfe` |

## Public artist sources

The canonical artist profiles in [`artists/`](artists/) retain only public, source-graded biographies. These links are context and authority leads, not automatic identity normalization.

| Artist | Public sources |
|---|---|
| GulYildiz / Gül Yıldız | [Fujifilm profile](https://www.fujifilm-x.com/en-gb/photographers/gul-yildiz/), [6529 profile](https://6529.io/GulYildiz), [LinkedIn](https://tr.linkedin.com/in/gulyildiz) |
| HugoFaz / Hugo Faz | [Artist site](https://hugofaz.art/), [LensCulture](https://www.lensculture.com/hugo-faz), [6529 profile](https://6529.io/HugoFaz) |
| nasimghanizadeh | [Linktree](https://linktr.ee/Nasim_Ghanizadeh), [Bluesky](https://bsky.app/profile/nasimghanizade.bsky.social), [Julien Sunyé essay](https://www.juliensunye.com/journal/after-the-gold-rush), [Bideodromo catalogue](https://www.bideodromo.com/2019/CATALOGObideodromo2019.pdf) |
| intrepid | [6529 profile](https://6529.io/intrepid) |
| ikertje | [Artist biography](https://ikertje.com/about-me), [Linktree](https://linktr.ee/IKERTJE) |
| GIANT / Artem Humilevskiy (submitted variant: Humilevskyi) | [artist site](https://humilevskiy.com/), [Global Peace Photo Award](https://globalpeacephotoaward.org/submissions/winners-2022/giant), [Galerie Sechs](https://www.galeriesechs.ch/artists-featured/artem-humilevskiy) |
| priyanka / Priyanka Patel | [Farcaster](https://farcaster.xyz/priyanka), [public interview](https://paragraph.com/%40toadyhawk/vip-6-priyanka) |
| Rakesh / Rakesh Pulapa | [artist biography](https://www.rakeshpulapa.com/about), [Condé Nast Traveller](https://www.cntraveller.in/story/photographers-behind-indias-most-stunning-drone-shots-share-their-hottest-tips/), [The Hans India](https://www.thehansindia.com/andhra-pradesh/rajahmundry-youth-becomes-vivo-judge-814114), [EatMy.News interview](https://www.eatmy.news/2020/09/patience-and-perfection-is-important-to.html) |
| pandelic / Eric Pan | [Artist site](https://ericpan.org/), [15 Questions](https://www.15questions.net/interview/eric-pan-about-improvisation/page-1/), [catalog profile](https://legacy.catalog.works/pandelic) |
| Minalisa / Mina Rahmani | [Farcaster](https://farcaster.xyz/minalisa1991) |
| Teyhu | [Linktree](https://linktr.ee/teyhu) |
| arsonic | [6529 profile](https://6529.io/arsonic/xtdh), [artist X profile](https://x.com/Ars0nic), [indirect Fingerprints DAO context: Guillaume (Zeblocks)](https://fingerprintsdao.medium.com/artist-interview-guillaume-zeblocks-6342a0f9b36b) |
| Zoku | [6529 profile](https://6529.io/zoku), [The Line profile](https://www.theline.wtf/listing/zoku/) |
| shamspranto | [6529 profile](https://6529.io/shamspranto), [121Clicks](https://121clicks.com/photo-stories/shams-pranto-bangladesh-photography/) |
| Veerendra | [6529 collected profile](https://6529.io/veerendra/collected), [The Talented Indian](https://www.thetalentedindian.com/tag/veerendra-jillella/), [Chaibisket](https://www.chaibisket.com/blogs/blog/best-photographers-telugu-states) |

## Site and historical context bibliography

- [Fort Frederick, Grenada Tourism Authority](https://www.puregrenada.com/fort-frederick/) and [UNESCO tentative-list context](https://whc.unesco.org/en/tentativelists/1926/) — OUT-004.
- [Berlin Wall Memorial](https://www.berlin.de/en/museums/3109351-3104050-gedenkstaette-berliner-mauer.en.html) and [German Federal Archives](https://www.bundesarchiv.de/themen-entdecken/online-entdecken/dokumente-zur-zeitgeschichte/bau-der-berliner-mauer/) — OUT-005.
- [Parks Canada, Visiting Lake Louise and Moraine Lake](https://parks.canada.ca/pn-np/ab/banff/visit/parkbus/louise), accessed 8 August 2026 — current road-closure and shuttle-reservation policy for OUT-007; the artist’s 2024 capture conditions remain attributed.
- [RAW-Gelände official history](https://raw-gelaende.de/en/historie/) and [English site history](https://raw-gelaende.de/en/about-r-a-w/) — OUT-009.
- [Casa NUA](https://nua.casa/) and [Domínio Público](https://dominiopublico.nua.casa/) — OUT-011.
- [Liberation War Museum history](https://www.liberationwarmuseumbd.org/page/history) and [Bangladesh Army history](https://www.army.mil.bd/history) — OUT-015.
- [INA hypolimnion water-quality study](https://www.ina.gov.ar/archivos/publicaciones/Cirsa_Limno_Hypolimnion_Water_Quality_2004.pdf) — the narrow 1944 dam-phase lead used in the [context register](contexts/index.md#san-roque-dam-claim-out-014); [Argentine government dam inventory](https://www.argentina.gob.ar/sites/default/files/libropresas_3_compress_3_3-101-219.pdf), [INA/UNC study](https://www.ina.gov.ar/archivos/publicaciones/Cirsa-Limnologia-7-problem.pdf), and [APRHI operations note](https://www.aprhi.gob.ar/lluvias-en-cordoba-los-diques-se-acercan-a-su-nivel-maximo-y-aseguran-agua-para-todo-el-ano/) supply broader site and operations context for OUT-014.
- [Creative Commons CC0 and NFTs FAQ](https://creativecommons.org/cc-and-nfts/) — copyright dedication versus personality, privacy, publicity, and trademark rights.
- [Nikon focus-shift guidance](https://www.nikonusa.com/learn-and-explore/c/tips-and-techniques/focus-shift-the-basics-stacking-focus) and [Adobe depth-of-field compositing](https://helpx.adobe.com/photoshop/desktop/create-masks/blend-images/create-a-composite-with-extended-depth-of-field.html) — OUT-016 technique context.

## External link audit

On 8 August 2026, stale external citations were removed from this public edition after endpoint checks returned error or DNS failures. No archive snapshot is asserted for those omissions. The retained bibliography above is the current source set; unresolved biography and context are stated as gaps rather than padded with low-authority mirrors.

| Audit disposition | Source treatment |
|---|---|
| Hive, PinchukArtCentre, Spilne Art, Berlin Q&A, and Get Bengal endpoints | Omitted after the recorded error responses; no replacement claim or archive snapshot is asserted. |
| Legacy Parks Canada access endpoint | Removed from the work bibliography and replaced by the current official [visitor-guidance page](https://parks.canada.ca/pn-np/ab/banff/visit/parkbus/louise), accessed 8 August 2026. |
| Shape of Pepe / Priyanka site | Omitted after DNS failure; the artist note remains evidence-proportionate to the Farcaster and interview sources. |
| Twstalker and mobile.twstalker mirrors | Omitted from Teyhu and Minalisa citations; first-party/platform sources and the signed submissions remain the public basis. |

## Chronology

| Date | Event | Evidence/status |
|---|---|---|
| 1779–1783 | Fort Frederick construction sequence | Institutional site history; context for OUT-004. |
| 13 Aug 1961 / 1990 | Berlin Wall construction and later mural/afterlife contexts | Berlin public sources; context for OUT-005, not exact site identification. |
| 16 Dec 1971 | Bangladesh independence at the end of the Liberation War | Liberation War Museum; historical context for OUT-015. |
| 1867–2015 | RAW-Gelände railway origin, shutdown, cultural use, and later ownership transition | RAW official history; context for OUT-009. |
| 1944 | San Roque dam phase cited in public technical records | Narrow context for OUT-014; operational claim remains under review. |
| 2011 | Artist-submitted date for OUT-005 and OUT-009 | Submission claims; exact site/provenance review remains open. |
| 2017 | Artist-submitted date for OUT-008 | Submission claim; drone permissions and facility identity unresolved. |
| 2020 | Artist-submitted dates for OUT-006 and OUT-015 | Submission claims; OUT-004 conflicts between 2020 and 2021. |
| 2023 | Artist-submitted date for OUT-003 | Submission claim; exact Kayseri site unresolved. |
| 2024 | Artist-submitted date for OUT-007 | Submission claim; Moraine Lake policy context independently supported. |
| 16 Apr 2020 | Artist-submitted creation date for OUT-006 | Submission claim; project context corroborated publicly. |
| 5 Jul 2026 | Artist-submitted date for OUT-011 | Submission claim; subject/venue permissions unresolved. |
| 18 May 2026 | Artist-submitted date for OUT-013 | Submission claim; workflow and staging unresolved. |
| 12 May 2026 | Artist-submitted date for OUT-014 | Submission claim; exact viewpoint/operation unresolved. |
| 1 Aug 2026 | Retained program/outcome observation | Sixteen selected outcomes, all `selected_unminted`; no acquisition/accession evidence. |
| 8 Aug 2026 | WP-4 public research and image review | This corpus build; sources, biographies, captions, media joins, rights gaps, and correspondence register added as Markdown content. |

## Source gaps requiring artist or registrar action

The major gaps are exact site/date/metadata confirmation; artist authority and preferred credit; executed CC0 instruments; depicted-person, minor, nude, passport, and sensitive-biography consents; graffiti/poster/site/miniature third-party rights; source-file and layered-work retention; and any future mint, purchase, title, custody, preservation, or accession evidence. The registrar work queue turns these gaps into questions without publishing private contact details.

Title display amendment: the Artist in the Open Sea

Title display amendment: *the Artist in the Open Sea*

# Title display amendment: *the Artist in the Open Sea*

**Authority:** 6529NM-AP-01-TITLE-DISPLAY-2026-08-18-001  
**Effective:** 18 August 2026  
**Work:** 6529NM-W-0009 / OUT-002  
**Supersedes:** the prior public-display treatment that reproduced the submitted transposition in the Work title and media credit

## Decision

The Museum will display the title as *the Artist in the Open Sea* in visitor-facing pages, labels, captions, and media credits. This is an editorial display correction of the obvious transposition “teh.”

The signed Wave submission and PROGRAM_OUTCOME remain unchanged and retain *the Artist in teh Open Sea* as submitted. The amendment does not claim that the artist has issued a revised title. It keeps the archival source and the Museum’s public display treatment distinct.

## Record effect

- PUBLIC_ENTITY 6529NM-W-0009 uses *the Artist in the Open Sea* as its preferred public label and profile title.
- MEDIA_REFERENCE 6529NM-MED-0021 uses the corrected title in its public credit and preferred label.
- The exact submitted title remains in 6529NM-AP-01-OUT-002, its verbatim artist statement, and the Wave evidence.
- Work identity, selection status, mint status, acquisition status, accession status, Collection membership, rights, and media bytes do not change.

This amendment supplies the authority for the corrected visitor-facing title while preserving the historical record.

Checkpoint

Content note: Nudity and partial concealment. The subject’s identity and location are unspecified; the public record gives no age determination.

Image presentation: Contextual Museum display is authorized under the current display authority. Reuse is not granted by that presentation.

Visual description: A bare torso emerges from folds of black fabric against a nearly black background.

Object data

Artist: Minalisa
Title: Checkpoint
Selection: place 10 · serial 1066664 · Wave submission
Source alias: OUT-010 Submitted location/date: withheld · 2026
Medium: digital portrait photograph, processed in Lightroom and Photoshop
Submitted dimensions: 4160 × 6240 pixels · Fujifilm X-T4, 16 mm
Media: Media and source record

Caption

A bare torso appears through black fabric; the concealed head keeps the person’s identity outside the frame.

Close looking

Black fabric gathers around the torso like a narrow aperture. Its folds give the photograph’s border a physical edge, and the crop concentrates attention on the body’s relation to visibility. The figure is present through exposure and withheld through form; clothing decides how much can be seen while the body’s vulnerability remains in view.

Artist’s account

The submission describes a body shaped by decisions about clothing, movement, and visibility, and locates the work within a personal realization about bodily ownership. The artist identifies the source file as a digital photograph with Lightroom colour work and Photoshop background retouching. The public evidence does not establish identity, adult status, self-portrait status, or the scope of consent; no private instrument is retained in the Museum record. The Museum therefore presents the image only in its selected-work context, without making those claims or granting reuse.

Curatorial interpretation

The folds do more than frame the torso: they make the body the photograph’s only exposed surface. The absent face prevents recognition, while the close crop intensifies physical presence. Visibility and anonymity are held together by the same black fabric.

Context

The artist’s public profile describes a self-taught portrait practice. The submission withholds geography and presents a nude or partially nude body; the public treatment remains object-led and leaves the subject’s identity and status open.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: OUT-010 is authorized for contextual Museum display. The submission includes a conditional CC0 declaration and represents that written documentation can be supplied, but the public evidence does not establish subject identity, adult status, self-portrait status, or publication-consent scope; no consent instrument is retained in the Museum record. The Museum makes none of those claims, provides no reuse grant, and keeps the image within the selected-work context. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: The Hostile Gate · Next: Sina Beizavi in Brazil

Dichotomy.

Object data

Artist: Rakesh Pulapa (Rakesh)
Title: Dichotomy.
Selection: place 8 · serial 973173 · Wave submission
Source alias: OUT-008 Submitted location/date: Rajahmundry, India · 2017
Medium: aerial digital photograph, processed in Photoshop
Submitted dimensions: 2952 × 3888 pixels · DJI Mavic Pro
Media: Media and source record

Caption

From above, a hard line separates dense residential roofs from a geometric field of palms.

Close looking

The boundary runs almost ruler-straight through the frame. On one side, roofs and roads make a dense, irregular surface; on the other, palm crowns repeat in ordered rows. The aerial viewpoint removes the human scale that would make the line negotiable. Land use becomes pattern, and pattern begins to look like destiny.

The plantation has the visual calm of a garden; the neighbourhood reads as a compact field of pressure. That reversal gives the image its force. An arrangement associated with custody appears orderly and lush, while ordinary freedom is rendered as crowding.

Artist’s account

Pulapa describes the ordered side as a jail facility and the other as a residential neighbourhood, asking what custody looks like when confinement resembles order and freedom resembles chaos. Those identifications remain the artist’s account; the public record leaves the facility unidentified.

Curatorial interpretation

Seen from above, access becomes a problem of viewpoint. From the ground, a wall, road, or security perimeter would organize movement; in the aerial frame, the boundary is an abstract stroke. People living on either side disappear into the diagram, leaving the viewer to consider who may see a landscape as a system and who must live inside its divisions.

Context

The submission places the image in Rajahmundry and identifies a DJI drone. The source register links public artist sources for Pulapa’s aerial practice and regional association. The facility’s exact identity, flight permission, and safe publication wording require confirmation.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission includes a CC0 declaration. Facility identity, aerial authorization, source metadata, and final rights scope remain unverified. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: the cost of open · Next: Residual Barrier

মুক্তিযুদ্ধ - Fight for Freedom

Object data

Artist: Shams Pranto (shamspranto)
Title: মুক্তিযুদ্ধ - Fight for Freedom
Selection: place 15 · serial 993675 · Wave submission
Source alias: OUT-015 Submitted location/date: Dhaka, Bangladesh · 2020
Medium: collage photograph made in Photoshop
Submitted dimensions: 2800 × 4000 pixels · Nikon D7200, 50 mm
Media: Media and source record

Caption

Two women appear at separate teal train windows: one looks outward, while the other shields part of her face with an orange head covering.

Close looking

The train window divides each woman from the viewer and from the other passenger. One face meets the outside world; the other is partly hidden by patterned cloth and a lifted arm. Below them, a torn poster enters the frame; its provenance and relation to the Liberation War remain unresolved. The carriage is a vehicle, but the windows make each passenger a separate image.

Colour keeps the collage from becoming solemn: teal paint, orange cloth, and the muted surfaces of the train hold the frame in a precise balance. The women are visible and separated at once. Movement is possible inside the train’s public infrastructure: windows, tracks, and carriage walls place each figure in a shared vehicle with divided sightlines.

Artist’s account

Pranto’s submission names the work for the Bangladesh Liberation War and describes the window as a threshold between inside and outside, citizenship and freedom. The artist represents that written consent is available. The consent scope and poster source remain to be verified; no consent instrument is retained in the Museum record.

Curatorial interpretation

The 1971 war supplies historical context; the photograph stages a contemporary scene in which a torn poster carries an attributed memory of liberation. Its provenance and relation to the historical frame remain unresolved. Freedom is pictured through the split windows and the movement of the train, with collage joining memory to passage.

Context

The Liberation War Museum’s public history supports the title’s 1971 reference. That history is context for the work, not proof of its documentary scene. The collage sources, depicted-person permissions, and preferred public title form require confirmation.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The written scholarship is within the current text-publication scope; exact-commit review, image display, accessibility, and image-specific consent remain pending under the current publication boundary. The submission contains a CC0 declaration and represents written consent for depicted people; consent scope, poster provenance, title spelling confirmation, and image-delivery scope remain to be verified. No consent instrument is retained in the Museum record. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Morning Glory · Next: The Hostile Gate

Managed Freedom

Object data

Artist: Nasim Ghanizadeh (nasimghanizadeh)
Title: Managed Freedom
Selection: place 3 · serial 980507 · Wave submission
Source alias: OUT-003 Submitted location/date: Kayseri, Turkey · 2023
Medium: digital photograph, lightly rotated and colour-corrected
Submitted dimensions: 6720 × 4480 pixels · Canon 5D Mark IV, 70 mm
Media: Media and source record

Caption

A rider lifts with a rearing white horse above a crowded herd moving across an open mountain plain.

Close looking

The horse rises almost vertically, its pale body catching the eye against the dark mass below. The herd presses across the lower field in overlapping directions, while the rider’s posture creates a momentary axis of command. The horizon gives the plain breadth; the bodies arrange routes through training, force, and negotiated movement. Direction emerges from the relation among rider, horse, and herd, and the open field becomes a space whose paths are continually arranged.

Artist’s account

Ghanizadeh connects the scene to migration, departure, refusal, evasion, shelter, invisibility, and the quiet act of leaving. The artist describes freedom as something negotiated within systems of control and states that the image was made by hand during active movement; the technical note says no AI manipulation was used.

Curatorial interpretation

Freedom arrives here as a relation. Command meets resistance, animal force meets human direction, and an individual departure remains inside collective pressure. The rising horse breaks the herd’s rhythm for a moment; the surrounding bodies hold the scene in place.

Context

The submission places the work in Kayseri, Turkey. The source register links public sources for the artist’s photography and video practice; the precise site, rider relationship, and any biography of migration or exile remain unverified.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission includes a CC0 declaration. Rider/depicted-person permissions, exact site and date, source metadata, and final rights wording remain to be confirmed. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: the Artist in the Open Sea · Next: the cost of open

Morning Glory

Object data

Artist: Zoku
Title: Morning Glory
Selection: place 14 · serial 991838 · Wave submission
Source alias: OUT-014 Submitted location/date: San Roque Dam, Córdoba, Argentina · 12 May 2026
Medium: digital photograph from RAW, minimally edited in Lightroom
Submitted dimensions: 2670 × 1878 pixels · Xiaomi smartphone camera
Media: Media and source record

Caption

Water fans through a dark, fluted form while a small opening of sky remains above its curving walls.

Close looking

The photograph looks upward into a form that is both bowl and aperture. Water radiates from a centre hidden below the frame, and repeating flutes pull the eye toward the bright opening. The structure disappears into pattern. A small patch of sky remains at the top of the image, while water and light follow curves that resemble a flower, throat, or mouth.

Artist’s account

Zoku identifies the image as the spillway funnel of San Roque Dam and describes it as an automated system that regulates excess pressure. The submission connects its 1944 expansion to a broader idea of infrastructure solving problems through automatic release; no individual permission event appears in the account.

Curatorial interpretation

No operator, hinge, or warning sign appears. Regulation is conveyed by the fan of water, the repeated ribs, and the circle of sky. The photograph turns a large structure into an enveloping pattern whose purpose is legible only through the flow it shapes.

Context

Public technical material supports San Roque Dam’s site and a 1944 dam phase. The precise component, viewpoint, operating conditions, and claim of wholly human-independent regulation remain attributed to the submission.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission states that the work will be released under CC0 if selected. Site permission, technical description, source RAW, and final rights wording remain to be confirmed. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Now Is Our Time · Next: মুক্তিযুদ্ধ - Fight for Freedom

No Access

Object data

Artist: Veerendra
Title: No Access
Selection: place 16 · serial 1058703 · Wave submission
Source alias: OUT-016 Submitted location/date: not stated in the submission
Medium: handmade miniature photographed with focus stacking
Submitted dimensions: 4896 × 3917 pixels · Nikon D750, 24 mm
Media: Media and source record

Caption

A small white house glows on a hill beneath stars, separated from the viewer by a lit gate, a warning sign, and a person-like silhouette.

Close looking

The scene is built from small, exact signals. A path rises toward the house, but the gate interrupts it. The red roof and warm interior light promise shelter; the warning sign and dark figure keep that promise at a distance. The night sky opens widely above the hill while the ground route narrows into permission.

At miniature scale, the barrier feels fabricated and tactile. The house is close enough to inspect, yet the image gives the viewer no way to cross the final space. A quiet scene gathers unease through sign, fence, distance, and guarded light.

Artist’s account

Veerendra describes a handmade miniature and focus-stacking process that builds depth while preserving the constructed world’s tactile quality. The submission frames the gate as a boundary made through suggestion, distance, and the feeling that something beyond the threshold is intentionally protected.

Curatorial interpretation

The miniature works like a compact stage set. Warm windows, a red roof, and an expansive sky establish the house as a destination; the sign, gate, and dark silhouette interrupt that invitation with three precise props. Focus stacking sharpens every layer, so distance cannot be blamed on blur. The refusal is built into the scene.

Context

The submission-led record supports the miniature and focus-stacking process. A fuller public biography, the gate-side figure’s status, and the source sequence remain unverified.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission includes a CC0 declaration. Miniature materials, figure status, source sequence, preferred public name, and final rights scope remain to be confirmed. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Rusted · Next: the Artist in the Open Sea

No Key, Only Light

Content note: Two distant silhouetted figures appear in the historical 640px review copy. The program terms exclude identifiable minors; no identifying detail was visible in that copy, and the figures’ ages remain unestablished.

Image presentation: A 640-pixel contextual presentation copy is authorized under the current display authority. No identifying detail is visible; reuse is not granted.

Visual description: Two silhouetted figures walk toward daylight at the end of a rough stone passage.

Object data

Artist: intrepid
Title: No Key, Only Light
Selection: place 4 · serial 1152154 · Wave submission
Source alias: OUT-004 Submitted location/date: Fort Frederick, Grenada · submission states 2020; artist narrative opens with 2021
Medium: digital photograph, lightly adjusted in Lightroom
Submitted dimensions: 4160 × 4160 pixels · Canon 6D Mark II, 33 mm
Media: Media and source record

Caption

Two figures stand inside a rough stone passage and face a blown-out opening of daylight.

Close looking

A rough passage narrows the image before a white doorway opens it into glare. The figures remain silhouettes, carrying the memory of confinement while the light beyond withholds detail. Their route is clear enough to imagine and too bright to read. Stone, shadow, and glare give the threshold historical weight, and the figures’ small movement supplies a human tempo: the photograph holds them at the instant when exit becomes imaginable.

Artist’s account

The artist’s submission describes the figures as family members and recounts an Australian family’s months of confinement aboard a sailboat before permission to enter Grenada. It attributes the association with surveillance, colonial defence, revolution, military control, and the 1983 invasion to the artist’s account. The public description leaves the figures unidentified. The artist represents that consent documentation is available on request; no consent instrument is retained in the Museum record. The Museum's accession review therefore keeps the figures unidentified, limits presentation to 640 pixels, and grants no reuse right.

Curatorial interpretation

The image brings private confinement into contact with public architecture. A doorway in a defensive complex becomes, in the artist’s account, a sign of finally reaching land. The bright opening carries that relief, while the fort’s documented military history supplies a frame of defence and control.

Context

The context register and source register document Fort Frederick’s colonial and revolutionary context, including its inward-facing defensive design and role during the Grenadian Revolution. The family narrative, date discrepancy, figures’ identities, and the artist’s represented consent coverage remain in the source and rights records.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: OUT-004 is authorized for 640-pixel contextual Museum display. The artist represents consent documentation is available on request, but no instrument is retained in the Museum record; the figures’ ages and privacy/consent scope remain unverified. The Museum leaves them unidentified, publishes no larger derivative, and grants no reuse right. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Take the Key! · Next: Rusted

Now Is Our Time

Object data

Artist: Eric Pan (pandelic)
Title: Now Is Our Time
Selection: place 9 · serial 1029013 · Wave submission
Source alias: OUT-009 Submitted location/date: Berlin, Germany · 1 July 2011
Medium: black-and-white digital photograph
Submitted dimensions: 3008 × 2000 pixels · Nikon D70, 35 mm
Media: Media and source record

Caption

Industrial ruins, barred openings, lamps, and layered graffiti frame the declaration “NOW IS OUR TIME.”

Close looking

Hard contrasts organize the frame: black windows, pale walls, a lamp’s small flare, and graffiti gathered across the surface like a second architecture. The slogan sits within a place of repair, closure, and re-use. Its capital letters fill the wall while the building’s decay keeps time around them. The camera holds the site at a deliberate distance, presenting a public view shaped by history. Barred openings and uncertain routes make the declaration legible as an invitation-shaped mark in a site whose access has changed over time.

Artist’s account

Pan’s submission places the scene at Berlin’s RAW-Gelände in Friedrichshain and connects its railway-repair history, post-reunification abandonment, squatting, cultural use, and later redevelopment. The artist identifies the photograph as made during the site’s autonomous-cultural period.

Curatorial interpretation

The photograph separates access to a site from authority over its signs. Painted words make a place legible through use and inscription, while ownership and redevelopment reorganize the same ground. The slogan survives as an image; its survival leaves authorship and permission open.

Context

RAW-Gelände’s public history supports the broad sequence from railway repair works to temporary cultural use and redevelopment. The exact building and graffiti authorship remain open in the public record.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The artist’s CC0 declaration is present; visible-mark authorship, site permission, exact building, original file, and publication scope remain to be confirmed. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Residual Barrier · Next: Morning Glory

Nowhere To Esc.

Object data

Artist: arsonic
Title: Nowhere To Esc.
Selection: place 13 · serial 1004919 · Wave submission
Source alias: OUT-013 Submitted location/date: Montreal, Canada · 18 May 2026
Medium: staged digital photograph, processed in Lightroom and Photoshop
Submitted dimensions: 5000 × 5000 pixels · iPhone 17 Pro Max
Media: Media and source record

Caption

Black keyboard keys spell “NO / WHERE / TO,” while an Esc key sits apart beside a small ant.

Close looking

The keys are arranged as a sentence that almost resolves into a command. “NO” and “WHERE” occupy the upper field; “TO” points toward the separated Esc key, but the grammar never reaches a usable exit. The ant gives the arrangement a minute scale. It is close enough to the key to appear trapped by its meaning and too small to operate it.

The photograph’s humour is dry and exact. Black keys and hard white letters borrow the authority of an interface, while the ant gives that authority a physical and absurd scale. A button can display the language of escape while movement remains impossible.

Artist’s account

Arsonic describes Esc as a symbol of cancel, leaving, stopping, and going back, then reverses those promises by placing a small ant beside it. The artist presents the image as a reflection on systems that show choices while withholding a real way out and states that no ants were harmed.

Curatorial interpretation

The keyboard stages a command as a blocked passage. Its subject is the gap between a readable instruction and an available action. The viewer understands the exit immediately; the ant cannot reach it. Scale, interface design, and the authority of visible controls leave access as a promise while movement remains impossible.

Context

The artist’s public practice is associated with Web3, meme, and generative-art communities. The photographic workflow, keycap provenance, and animal-welfare details remain tied to the submission and correspondence record.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission includes a CC0 declaration and an animal-welfare statement. Original file, staged-material provenance, and publication scope remain to be confirmed. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Sina Beizavi in Brazil

Residual Barrier

Object data

Artist: IKERTJE (ikertje)
Title: Residual Barrier
Selection: place 5 · serial 981298 · Wave submission
Source alias: OUT-005 Submitted location/date: Berlin, Germany · 2011
Medium: digital photograph, edited in Adobe Photoshop
Submitted dimensions: 3780 × 2452 pixels · Nikon D60, 55 mm
Media: Media and source record

Caption

A weathered wall carries graffiti across a rough concrete surface; its old force survives as material and memory.

Close looking

The wall fills almost the entire frame. Its seams, chips, and dark coping line establish a horizontal barrier before the graffiti pulls the concrete into another register. The pale sky is a narrow remainder. Nothing moves, yet the surface carries the pressure of a structure built to decide who could pass. Personal marks turn the site’s history into an informal archive, while the wall’s scale keeps that memory physically present.

Artist’s account

IKERTJE describes the wall as a threshold after enforcement ends: movement has been restored, but the material and behavioural effects of separation remain. The artist also identifies Photoshop adjustments to contrast and sharpness and the removal of a small building to keep the wall as the subject.

Curatorial interpretation

The work studies a wall’s afterlife. Graffiti gives a controlled surface a record of added marks, while the edit keeps the concrete self-contained. Access survives here as material: the gate’s practical function has weakened, and its remains still organize memory.

Context

The submission places the photograph in Berlin in 2011. Public Berlin Wall history supports the broader context of former division and memorial afterlife, while the exact segment and the identity or permissions of the graffiti makers remain open in the public record.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission contains a CC0/CCO declaration, but the required license wording, visible-mark permissions, edit history, and source publication scope remain unverified. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Dichotomy. · Next: Now Is Our Time

Rusted

Object data

Artist: Teyhu
Title: Rusted
Selection: place 12 · serial 1002997 · Wave submission
Source alias: OUT-012 Submitted location/date: Iran · 2026
Medium: digital self-portrait photograph, lightly colour graded
Submitted dimensions: 5168 × 3648 pixels · Canon 7D Mark II, 58 mm
Media: Media and source record

Caption

A distant figure with keys stands inside a sequence of damaged rooms and arches.

Close looking

Repetition organizes the image. Arches open one behind another, each revealing another layer of plaster, brick, shadow, and rubble. The figure is small enough to be absorbed by the architecture, while the keys give the body a precise task: to carry the possibility of entry through a place exhausted by permission. The path forward exists as a sequence of apertures; the keys offer possibility while the opening remains uncertain.

Artist’s account

Teyhu describes the space as suspended between collapse and escape and the keys as rusted promises of approval, success, and belonging. The submission calls the photograph a self-portrait and states that no compositing or AI-generated elements were used.

Curatorial interpretation

A key becomes a burden here. Repeated arches render access procedural: one threshold follows another, and the figure carries evidence of a permission that may already have failed. Distance keeps the image suspended between arrival and departure.

Context

The submission gives Iran as the location but leaves the building unidentified. The public profile remains handle-based; the architecture supplies no basis for a political history or safe location.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission states that the work is released under CC0 and identifies it as a self-portrait; exact site, likeness status, safe geography, and final rights wording remain to be confirmed. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: No Key, Only Light · Next: No Access

Sina Beizavi in Brazil

Content note: Full-frontal nudity and a pictured travel document. In the historical 640px presentation review, the document appeared at a distance and personal identifiers were not readable; none are transcribed here.

Image presentation: A 640-pixel contextual presentation copy is authorized under the current display authority. The pictured document is not legible; reuse is not granted.

Visual description: A nude figure reclines on an ornate gold chair, wearing bright sandals, with one hand lowering a small dark booklet or document toward the floor; no text is readable on it.

Public-size note: The active media record admits only the 640-pixel presentation derivative. Source originals and high-resolution preservation masters are not public.

Object data

Artist: Hugo Faz (HugoFaz)
Title: Sina Beizavi in Brazil
Selection: place 11 · serial 1167034 · Wave submission
Source alias: OUT-011 Submitted location/date: Casa NUA, São Paulo, Brazil · 5 July 2026
Medium: directed digital photograph, colour graded by the artist
Submitted dimensions: 6000 × 4000 pixels
Media: Media and source record

Caption

A nude figure reclines on an ornate gold chair, wearing bright sandals and holding a dark booklet or document toward the camera.

Close looking

Gold ornament, bare skin, and the dark rectangle of the document make a compact arrangement of welcome and scrutiny. The sitter’s relaxed posture gives the chair a theatrical ease, while the object in the sitter’s hand introduces an administrative question into the room. The sandals, described in the submission as a welcome gift, add colour while keeping the document’s weight present.

Artist’s account

Faz’s submission names the sitter and describes the pictured object as a small booklet or document. This catalogue uses “the sitter”; personal biography, document identifiers, and nationality claims stay outside the treatment. The artist represents that written consent documentation is available on request; no consent instrument is retained in the Museum record.

The title supplies the submitted public name “Sina Beizavi”; this interpretation uses “the sitter” and publishes no additional identity or biographical inference. Consent is recorded separately in the rights record.

Curatorial interpretation

The dark booklet or document changes the portrait’s terms. It introduces an administrative object of passage while keeping its identifiers beyond the public image. In a room of hospitality, the photograph asks how welcome relates to the systems that require a person to prove the right to cross.

Context

The submission places the photograph at Casa NUA in São Paulo; that statement is retained as source context. Venue endorsement, sitter identity, and document identifiers stay outside this public record. Venue permission and direct consent scope remain separate questions.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: OUT-011 is authorized for 640-pixel contextual Museum display. The artist represents written consent documentation is available on request, but no consent instrument is retained in the Museum record; the public evidence does not independently establish direct subject approval, venue permission, or the scope of publication consent. The Museum publishes no document transcription or sensitive biography, makes no additional identity claim, and grants no reuse right. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Checkpoint · Next: Nowhere To Esc.

Take the Key!

Object data

Artist: Gül Yıldız (GulYildiz)
Title: Take the Key!
Selection: place 1 · serial 1085874 · Wave submission
Source alias: OUT-001 Submitted location/date: Cologne, Germany · date not stated in the submission
Medium: digital photograph
Submitted dimensions: 3243 × 4864 pixels · Fujifilm camera, 10–24 mm
Media: Media and source record

Caption

A solitary figure faces a blue patterned screen inside a stone hall as sunlight breaks across the floor.

Close looking

The blue patterned screen catches sunlight in repeated bands. It brightens the hall while filtering the view beyond; the figure recedes under the stone and the long floor shadow. At the edge of the screen, stillness gives architecture time to become authority, while the bright field beyond stays possible and undefined.

Artist’s account

Yıldız connects doors and keys to knowledge, authority, digital sovereignty, ownership, and responsibility. The artist describes the figure as divided between past and future at a threshold and presents the key as a metaphor for self-custody. Those meanings remain the artist’s account.

Curatorial interpretation

The screen performs two contrary tasks at once: it brightens the hall and breaks the view beyond into a lattice. Long stripes of light carry its pattern onto the floor, while the figure’s small scale makes the architecture feel almost ceremonial. The key belongs to the artist’s account; the photograph itself builds its tension from light made abundant and vision made partial.

Context

The source register links public professional sources for the artist’s photographic and multidisciplinary practice. The exact venue, capture date, camera body, and identity or consent of the depicted figure remain object-level questions.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission includes a conditional CC0 declaration. Exact venue, figure consent, source file, and final rights scope remain to be confirmed. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Next: No Key, Only Light

the Artist in the Open Sea

Object data

Artist: Hugo Faz (HugoFaz)
Title: the Artist in the Open Sea Selection: place 2 · serial 1171592 · Wave submission
Source alias: OUT-002 Submitted location/date: São Paulo, Brazil · 6 July 2026
Medium: composite long-exposure digital photograph, directed and colour-graded by the artist
Submitted dimensions: 6000 × 4000 pixels · Canon 6D Mark II
Media: Media and source record

Caption

A person in a small white tub or boat remains sharply legible amid long-exposure streaks of buses and traffic moving through a lit urban corridor.

Close looking

The elevated view lays the roadway across the frame as a diagonal field of velocity. Vehicles dissolve into white and grey bands; the performer and white vessel hold their shape. The road is full, bright, and in motion, so the figure’s stillness reads as a deliberate act of concentration.

The tub shifts the roadway into an “open sea” while the city remains materially present. Long exposure makes buses behave like current; the directed figure resists becoming another streak. Speed and scale carry the photograph’s tension.

Artist’s account

Hugo Faz describes the rower as the artist in a marketplace that values speed and volume. “Open seas” are framed as permissioned corridors that lack a meaningful lane for artists; the free act is the one that asks nothing. The marketplace language remains attributed to the artist.

Curatorial interpretation

The scene is a staged photographic performance. Long exposure gives the urban system the appearance of a tide, and the tub lends the roadway the role of water. Performance documentation, conceptual street photography, and images of transit meet in the same frame. The question is whether a public system can accommodate a body moving at its own speed.

Context

Faz’s public practice joins photography to performance, film, and self-representation. The staged encounter belongs to that continuum: the roadway supplies a live system of speed, while the performer makes a deliberate place inside it. The exact road or terminal, staging permissions, public-safety conditions, composite layers, and high-resolution publication scope remain in the source record.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission contains a conditional CC0/full-rights assertion. Performer consent, staging permission, original composite layers, and high-resolution publication scope require review. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: No Access · Next: Managed Freedom

the cost of open

Object data

Artist: Priyanka Patel (priyanka)
Title: the cost of open
Selection: place 7 · serial 1147422 · Wave submission
Source alias: OUT-007 Submitted location/date: Moraine Lake, Canada · 2024
Medium: digital landscape photograph, processed in Adobe Lightroom
Submitted dimensions: 10080 × 5670 pixels · Nikon D850
Media: Media and source record

Caption

Moraine Lake opens into turquoise water, dark forest, and the snow-dusted Valley of the Ten Peaks.

Close looking

The image offers the landscape at its most persuasive: water opens across the lower frame, tree line gathers at the edges, and the peaks rise in a frame with no visible wall or checkpoint. The clear division between lake, forest, and mountain gives the view a calm legibility. Access appears to be a matter of looking.

The title interrupts that ease. The photograph is beautiful because it presents a shared landscape as if it were immediately available, while the image’s making depends on a route, season, capacity, time, and the chance to arrive. Its openness is visual; the conditions of entry stay outside the frame.

Artist’s account

Patel’s submission describes the change from overnight queues and private-vehicle congestion to Parks Canada’s timed shuttle and reservation system. It asks who can afford the money, planning, and time required to reach a landscape that remains publicly open in principle.

Curatorial interpretation

The sublime landscape reads as an access document while its machinery stays outside the frame. The empty-looking water carries administration in its title and in the conditions of its making. The view asks the viewer to account for the costs—money, planning, time, and environmental limits—that give availability its conditions.

Context

The artist’s submission supplies the access context for Moraine Lake, including reservations, shuttles, capacity, and time. Parks Canada’s current visitor guidance states that Moraine Lake Road is closed to personal vehicles year-round and that shuttle access requires a reservation; that policy describes current access, while the photograph’s 2024 route and capture-day conditions remain open. The image itself leaves the precise viewpoint and any source-scene visitors open.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission includes a CC0 declaration. Source-resolution, capture conditions, and final rights wording remain to be confirmed. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Managed Freedom · Next: Dichotomy.

The Hostile Gate

Content note: Shirtless self-portrait and body-image themes.

Object data

Artist: Artem Humilevskiy (GIANT) Title: The Hostile Gate
Selection: place 6 · serial 1157117 · Wave submission
Source alias: OUT-006 Submitted location/date: Mykolaiv, Ukraine · 16 April 2020
Medium: digital self-portrait photograph, processed in Adobe Photoshop
Submitted dimensions: 3804 × 2536 pixels · Sony ILCE-6000, 16 mm
Media: Media and source record

Caption

A shirtless figure opens a magnet-covered refrigerator; the domestic door becomes a threshold between appetite and restraint.

Close looking

The refrigerator’s open door throws a pale vertical light into the room. Magnets interrupt its surface with small signs and colours, while the figure’s body gives the appliance the scale of a wall being handled. The image’s tension sits in the pause between opening and taking.

The sparse interior is almost swallowed by shadow. The appliance promises provision, yet reveals a narrow, controlled space. The hand at the door and the body beside it place an everyday gesture in negotiation with hunger, self-surveillance, and the need to enter.

Artist’s account

The submission places the image within GIANT’s ongoing self-portrait project and describes the refrigerator door as a hostile gate between caloric discipline and primal hunger. The artist identifies the depicted person as himself and states that written consent documentation exists. The public page follows that artist-provided account; separate model-release questions remain outside this self-portrait interpretation.

Curatorial interpretation

The refrigerator measures appetite and self-surveillance. Its light, magnets, and open door keep the metaphor close to the domestic scene: a body already subject to judgement operates the threshold, and comfort arrives with its own terms.

Context

The source register links artist, gallery, award, and institutional sources for the broader Giant self-portrait project and its themes of body image, vulnerability, self-acceptance, and resilience. Claims about career scale or collection counts require independent verification and remain outside this public treatment.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The artist’s CC0 declaration and self-consent statement are present in the submission; the required license wording, supporting documentation, and publication scope remain unverified. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Fight for Freedom · Next: Checkpoint

Keys and Gates — photographs of access, control, and exit

6529 Network Museum Accession Program 01

Current status: selection complete. The Museum records sixteen outcomes as selected_unminted: selected by the Keys and Gates program, not yet recorded as minted or accessioned. Minting, acquisition, custody, rights verification, and accession remain unverified.

Program ID: 6529NM-AP-01

Program Wave: Keys and Gates

Description drop: serial 972000

A gate can be an object, a law, a reservation, a password, a body, or a story about who may pass. Keys and Gates brings together sixteen selected photographic submissions that look at those conditions: a figure before a luminous door; a bathtub moving against traffic; a herd directed across open land; a former wall whose control survives in memory; a key inside a ruined room; a path stopped by a small sign. Together, the photographs follow access as it is granted, priced, watched, inherited, withheld, or quietly refused.

The program sought original 1/1 photographs about access, exclusion, permission, surveillance, custody, autonomy, and exit. The selected works remain program outcomes. They are not holdings until the Museum completes the separate acquisition, rights, custody, technical, preservation, and accession records required for a collection object.

The program

The formal program note describes a sixty-day open call for original 1/1 photographs. Artists could submit up to three works. Each submission was to include the photograph, title, year and location or a withheld location, a 75–150 word caption, a technical note, a CC0 declaration, and—when people were depicted—confirmation that written consent documentation existed and could be provided on request.

The subject is sovereignty as lived experience. The program looks at doors, checkpoints, borders, queues, badges, permits, cameras, paywalls, waiting rooms, repair routes, informal systems, self-custody, and the right to leave. The photograph must carry the argument: the formal selection standards name photographic strength and craft, clarity of the control or access theme, distinct voice, long-horizon value as document and image, documentation quality, and suitability for permanent CC0 accession.

The program is CC0-only. Written consent is required when people are depicted; identifiable minors are excluded, as are submissions that expose sensitive personal data, doxxing vectors, or vulnerable situations. An artist’s conditional CC0 statement is preserved in the source record, but it is not by itself an effective Museum rights grant.

The benefit work is a Meme Card. The program terms state a purchase price of 0.5 ETH per acquired work and a total quantity determined by the number of Meme Cards minted. The program note says that, if a selected work is unavailable or does not meet the terms at acquisition, the allocation rolls to the next eligible work in rank order. If a program fact differs between the program note and the Meme Card, the program note says that the Meme Card controls.

What the selection means

On the Museum’s 2026-08-01 observation, the live program Wave returned sixteen submissions as WINNER, with selection places 1 through 16 and a voting cutoff of 2026-07-09T12:00:00Z. The current Museum record retains those outcomes as selected_unminted.

WINNER is selection evidence only. It does not establish a mint, purchase, title passage, legal rights grant, custody receipt, token identity, technical verification, preservation completion, display readiness, or accession.

The mint route remains undecided between a dedicated 6529Stream instance and a subcollection on the main 6529Stream deployment. The current outcome records therefore do not publish a contract address, deployment transaction, token ID, CAIP-19 citation, or custody receipt.

The order below follows the recorded selection place. It is not a statement of artistic value. The descriptions are editorial summaries; the individual outcome records preserve each artist submission verbatim, together with its source media reference, selection evidence, rights and consent representation, source fixity, and unresolved acquisition fields.

Selected photographs

01 — Take the Key! — GulYildiz

Outcome record · Wave submission

A solitary figure stands before a light-filled, patterned door in a dark stone interior. The image places an old architecture of restricted knowledge beside the idea of a personal digital key. Light promises passage; the walls retain the weight of authority. The submission connects the threshold to ownership and responsibility: a key can move control toward the individual, but it also removes the excuse of the gatekeeper.

02 — the Artist in the Open Sea — HugoFaz

Outcome record · Wave submission

A man rows a bathtub through rush-hour traffic. His small, slow vessel cuts across a system built for speed and shared lanes. The absurd object becomes a picture of an artist moving through a market that rewards volume and direction: he is the only person in the scene visibly choosing his route.

03 — Managed Freedom — nasimghanizadeh

Outcome record · Wave submission

A herd of horses moves across the open landscape of Kayseri. No fence appears, but riders, training, hierarchy, and collective movement shape the route. The empty field becomes a borderland where freedom is negotiated rather than given. The photograph links movement across the land to migration, refusal, shelter, and the quiet act of leaving.

04 — No Key, Only Light — intrepid

Outcome record · Wave submission

The artist’s submission describes the figures as “my children” and represents that a private release exists. In the historical 640px review copy, the figures appear as distant silhouettes from behind. No consent instrument is retained or independently verified in the Museum record. The fort’s public history supplies the architectural context.

05 — Residual Barrier — ikertje

Outcome record · Wave submission

A concrete wall in Berlin no longer closes a passage, but its surface still holds the memory of the division it enforced. Graffiti accumulates over the barrier, turning an instrument of state separation into an informal archive of presence. The threshold has opened; the structure has not become neutral.

06 — The Hostile Gate — GIANT

Outcome record · Wave submission

A refrigerator door becomes a gate in the artist’s account of appetite, weight, and the daily management of the body. Opening it means surrendering control; leaving it shut prolongs the struggle. The ordinary appliance becomes a private cage and a threshold governed by survival rather than architecture.

07 — the cost of open — priyanka

Outcome record · Wave submission

Moraine Lake remains a public landscape, but access is now mediated by reservations, ticketing, and scheduled shuttles after years of congestion and environmental strain. The photograph sits inside that policy change: a gate used to protect a common place can also make the visit depend on money, time, and a place in the system.

08 — Dichotomy. — Rakesh

Outcome record · Wave submission

An aerial line separates an ordered palm garden inside a jail from a residential neighbourhood beyond. One side is cultivated confinement; the other is unplanned movement. The photograph asks whether custody can look like order and freedom like a different kind of enclosure.

09 — Now Is Our Time — pandelic

Outcome record · Wave submission

The words “NOW IS OUR TIME” remain on a wall at Berlin’s RAW-Gelände. The photograph records the site during its autonomous-cultural period, before later commercialization began to change the place. The sentence is both declaration and trace: a temporary claim to a site survives after the conditions that made it possible begin to disappear.

10 — Checkpoint — Minalisa

Outcome record · Wave submission

The submission treats the body as a checkpoint. Law, fabric, and public gaze decide where a woman may go and how she may be seen. The location is withheld. The photograph names the moment when a private boundary retreats and an experience that has been managed by others becomes visible.

11 — Sina Beizavi in Brazil — HugoFaz

Outcome record · Wave submission

The submission places the sitter at Casa NUA in São Paulo, holding a small object in an ornate room. The submitted title supplies the public name “Sina Beizavi”; the public description uses “the sitter” and adds no identity or biographical inference. Consent and venue/rights review remain open; no consent instrument is retained in the Museum record.

12 — Rusted — Teyhu

Outcome record · Wave submission

A solitary figure holding keys stands inside a ruined interior in Iran. Openings multiply through crumbling walls; the keys suggest entry, approval, or a way out. The artist calls them rusted rather than golden, shifting the image from triumph to fatigue and the decision to leave structures that exhaust and exclude.

13 — Nowhere To Esc. — arsonic

Outcome record · Wave submission

An ant is enclosed inside the key marked Esc. The button promises cancel, leave, stop, and go back, but the trapped body cannot use it. The photograph brings a digital command into the physical world and makes an exit visible while withholding its function.

14 — Morning Glory — Zoku

Outcome record · Wave submission

The artist’s submission identifies San Roque Dam in Córdoba and describes an automatic spillway response to rising reservoir pressure, including flood-control and water-storage functions. Instituto Nacional del Agua material supports a 1944 dam phase; it does not independently establish the pictured component, automation, or operating conditions.

15 — মুক্তিযুদ্ধ - Fight for Freedom — shamspranto

Outcome record · Wave submission

Two women look through separate train windows. A torn poster recalls the Bangladesh Liberation War, while its provenance and relation to that history remain unresolved. The separate windows place the passengers in a shared vehicle with divided sightlines; the artist’s historical framing remains attributed to the submission.

16 — No Access — Veerendra

Outcome record · Wave submission

A handmade miniature house rests beneath an open night sky. A narrow path leads toward it, then stops at a simple gate and warning sign. The small scale turns restriction into a quiet arrangement: distance, suggestion, and a sign are enough to make a landscape feel controlled. Focus stacking preserves the constructed world’s tactile depth.

Before a work can enter the collection

A selected photograph can become a Museum object only after the Museum can identify the work, confirm the artist’s authority and CC0/consent basis, document the acquisition and custody path, resolve rights and title, complete technical and preservation review, and create a separate accession record. Those steps are not complete in the current Keys and Gates record.

The planned custody reference is networkmuseum.6529.eth; it is a reference in the program terms, not evidence that any selected work is held there. The current records also do not establish a contract, token, mint transaction, purchase transaction, title binding, custody receipt, or accession number for any selected work.

Records and source limits

Program record — rules, curatorial frame, selection evidence, acquisition terms, and registrar gates.
Selected-work index — sixteen outcomes retained as selected_unminted.
Individual outcome records — verbatim artist submissions, source media URLs, selection evidence, rights and consent representations, fixity, and unresolved fields.
Research evidence inventory — source observations, Wave configuration, direct-drop evidence, and status boundaries.

The outcome records preserve each submitted media URL and MIME type. The current Museum record does not claim that the image bytes are archived in this repository. A source URL is not a Museum preservation copy, and a live source page is not evidence of minting, custody, or accession.

Loading the Museum publication…

Back to acquisitions

Acquisition programs

Keys and Gates

This program record gives the scope and terms for the acquisitions it produces. Each work keeps its own status in the Museum's record.

Works acquired or selected through this program

accessibility

{
  "program_id": "6529NM-AP-01",
  "status": "constructed_visual_description_reviewed",
  "record_control": {
    "revision": 5,
    "record_status": "reviewed",
    "constructor": {
      "actor_id": "codex-task:network-museum-exhibition-media-2026-08-11",
      "role": "constructor",
      "constructed_at": "2026-08-11T21:56:04Z"
    },
    "review": {
      "reviewer_id": "codex-review:keys-gates-accessibility-2026-08-11-01",
      "role": "reviewer",
      "reviewed_at": "2026-08-11T22:44:52.647Z",
      "outcome": "approved_with_corrections",
      "finding": "All sixteen descriptions approved after four objective-language and visible-text corrections; no unsafe contextual-display concern found."
    }
  },
  "items": [
    {
      "record_id": "6529NM-AP-01-OUT-001",
      "alt_text": "A lone figure stands before a tall blue patterned gate as sunlight casts long geometric shadows across a stone hall.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-002",
      "alt_text": "An elevated view shows blurred buses and traffic around a sharply defined person seated in a small blue tub or boat on the roadway.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-003",
      "alt_text": "A rider on a rearing white horse rises above a herd of brown horses on a wide plain beneath hazy mountains.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-004",
      "alt_text": "Two silhouetted figures walk toward daylight at the end of a rough stone passage.",
      "public_widths": [640]
    },
    {
      "record_id": "6529NM-AP-01-OUT-005",
      "alt_text": "A long weathered concrete barrier with faded graffiti divides a pale sky from a dark foreground.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-006",
      "alt_text": "A shirtless person opens a refrigerator covered in colorful magnets in a kitchen.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-007",
      "alt_text": "A turquoise mountain lake is bordered by evergreen forest and a jagged, snow-dusted mountain range.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-008",
      "alt_text": "A vertical aerial view shows dense residential roofs meeting an ordered palm plantation along a sharp boundary.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-009",
      "alt_text": "Black-and-white industrial buildings sit beneath a cloudy sky, with the words NOW IS OUR TIME painted on a wall.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-010",
      "alt_text": "A bare torso emerges from folds of black fabric against a nearly black background.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-011",
      "alt_text": "A nude figure reclines on an ornate gold chair, wearing bright sandals, with one hand lowering a small dark booklet or document toward the floor; no text is readable on it.",
      "public_widths": [640]
    },
    {
      "record_id": "6529NM-AP-01-OUT-012",
      "alt_text": "A person stands framed by successive arched doorways inside a heavily damaged building.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-013",
      "alt_text": "Black keyboard keys spell NO / WHERE / TU on a white surface, while the Esc key sits apart below beside a small ant.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-014",
      "alt_text": "The camera looks upward through a dark, fluted circular structure toward a small opening of sky.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-015",
      "alt_text": "Two people lean from the windows of a weathered teal train; one wears a bright orange head covering.",
      "public_widths": [640, 1280, 2400]
    },
    {
      "record_id": "6529NM-AP-01-OUT-016",
      "alt_text": "A small white house with a red roof stands on a hill beneath a starry sky, beyond a lit gate with a posted sign and a silhouetted figure.",
      "public_widths": [640, 1280, 2400]
    }
  ]
}

Keys and Gates — independent accessibility review

# Keys and Gates — independent accessibility review

**Record ID:** `6529NM-AP-01-MEDIA-ACCESSIBILITY-2026-08-11-010`

**Reviewed:** 11 August 2026 at 22:44:52.647 UTC

**Reviewer:** `codex-review:keys-gates-accessibility-2026-08-11-01`

**Outcome:** approved with corrections
**Supersedes for current accessibility status:** `accessibility-amendment-2026-08-08-003.md`

The reviewer independently compared every visual description with the active
640-pixel presentation copy, verified all sixteen derivative hashes and pixel
dimensions against the media manifest, and reviewed the public-width and
display-authority boundaries.

Four descriptions were corrected before approval:

1. OUT-002 uses “person” rather than “performer” and records the blue vessel.
2. OUT-006 uses “person” rather than assigning gender.
3. OUT-013 preserves the letters visibly present in the artwork, `TU`, rather
   than silently normalizing them to the title's “To.”
4. OUT-016 describes a posted sign and silhouetted figure without assigning a
   warning function or questioning whether the figure is a person.

The review found no unsafe contextual-display concern. OUT-004, OUT-010, and
OUT-011 retain concise content and rights notes. Their descriptions do not name
subjects, infer age or consent, publish sensitive biography, transcribe the
pictured document, or disclose a private location. OUT-004 and OUT-011 remain
limited to 640 pixels. The review authorizes description and presentation use
only within the existing contextual display authority; it grants no download,
reuse, title, custody, mint, acquisition, accession, or Collection status.

The current accessibility state is
`constructed_visual_description_reviewed` for all sixteen Works.

arsonic

Initial profile: Public sources establish the pseudonymous digital-art context; photography-specific biography is sparse.

Selected work

Nowhere To Esc.

Further research: The handle’s digital-art context is established; the photographic workflow, materials, and preferred authority form remain to be confirmed.

Sources: 6529 profile, artist X profile. The Fingerprints DAO interview with Guillaume (Zeblocks) is an indirect Web3-context source, not evidence about arsonic’s identity or practice.

Browse

Curated Acquisition · Research Publication

Artem Humilevskiy (GIANT)

Selected work

The Hostile Gate

Sources: artist site, Global Peace Photo Award, Galerie Sechs.

Browse

Curated Acquisition · Research Publication

Gül Yıldız (GulYildiz)

Selected work

Take the Key!

Sources: Fujifilm profile, 6529 profile, LinkedIn profile.

Browse

Curated Acquisition · Research Publication

Hugo Faz (HugoFaz)

Selected works

the Artist in the Open Sea · Sina Beizavi in Brazil

Sources: artist site, LensCulture profile, 6529 profile.

Browse

Curated Acquisition · Research Publication

IKERTJE (ikertje)

Selected work

Residual Barrier

Further research: The public practice is well documented; the preferred display form, Berlin location, visible-mark permissions, and final CC0 terms remain to be confirmed.

Sources: artist biography, Linktree.

Browse

Curated Acquisition · Research Publication

intrepid

Initial profile: The public credit is handle-based, with the selected submission as the main account of the practice.

Selected work

No Key, Only Light

Further research: Intrepid remains the safe public credit; the account relationship, date, figures’ privacy boundary, and guardian-consent scope remain to be confirmed.

Sources: 6529 profile. The selected submission remains the direct source for the work account.

Browse

Curated Acquisition · Research Publication

Minalisa

Initial profile: The public record supports the handle-based portrait practice; identity and geography remain open.

Selected work

Checkpoint

Further research: The handle-based practice is established; the relationship to Mina Rahmani, subject status, safe geography, and publication permissions remain to be confirmed.

Sources: Farcaster profile.

Browse

Curated Acquisition · Research Publication

Nasim Ghanizadeh (nasimghanizadeh)

Selected work

Managed Freedom

Further research: The photographer/video-artist practice is supported; the preferred biography, pronouns, site, date, rider relationship, and sensitive contextual wording remain to be confirmed.

Sources: Linktree, Bluesky profile, Julien Sunyé essay, Bideodromo catalogue.

Browse

Curated Acquisition · Research Publication

pandelic

Selected work

Now Is Our Time

Further research: The multidisciplinary practice is well supported; the preferred credit, exact RAW location, visible-mark rights, and site permissions remain to be confirmed.

Sources: artist site, 15 Questions interview, catalog profile, RAW official history.

Browse

Curated Acquisition · Research Publication

priyanka

Selected work

the cost of open

Further research: The practice and Alberta association are supported; the viewpoint, date, preferred name, source conditions, and final rights terms remain to be confirmed.

Sources: Farcaster profile, public interview, and Parks Canada visitor guidance for the current Moraine Lake access policy.

Browse

Curated Acquisition · Research Publication

Rakesh Pulapa (Rakesh)

Selected work

Dichotomy.

Further research: The travel and aerial practice is supported; the facility, flight authorization, safe location wording, source metadata, and preferred authority form remain to be confirmed.

Sources: artist biography, Condé Nast Traveller, The Hans India, public interview.

Browse

Curated Acquisition · Research Publication

Shams Pranto (shamspranto)

Selected work

مুক্তিযুদ্ধ - Fight for Freedom

Further research: The Bangladesh-focused practice is well documented; the preferred display form, depicted-person permissions, collage sources, and title punctuation remain to be confirmed.

Sources: 6529 profile, 121Clicks profile, Liberation War Museum.

Browse

Curated Acquisition · Research Publication

Teyhu

Initial profile: The Linktree and selected submission are the primary public record for this practice.

Selected work

Rusted

Further research: The handle-based practice is established; preferred name and pronouns, safe site wording, likeness status, and final rights terms remain to be confirmed.

Sources: Linktree.

Browse

Curated Acquisition · Research Publication

Veerendra

Initial profile: The selected submission is the primary practice source; independent biography is unavailable in the reviewed public record.

Selected work

No Access

Sources: 6529 collected profile, The Talented Indian, Chaibisket photographer list.

Browse

Curated Acquisition · Research Publication

Zoku

Initial profile: Public sources establish the handle and conceptual digital-art context; biographical detail is sparse.

Selected work

Morning Glory

Sources: 6529 profile, The Line profile, Argentine dam inventory, APRHI operations note.

Browse

Curated Acquisition · Research Publication

Keys and Gates — context register

# Keys and Gates — context register

## Fort Frederick, Grenada — OUT-004

## Berlin Wall / *Residual Barrier* — OUT-005

## Moraine Lake access — OUT-007

## RAW-Gelände, Berlin — OUT-009

## Casa NUA, São Paulo — OUT-011

## Bangladesh Liberation War — OUT-015

## San Roque dam claim — OUT-014

## Contexts intentionally withheld or kept attributed

Keys and Gates

# Keys and Gates

*Sixteen photographs selected in 2026 ask one shared question: how does a permission decide who may move, who must wait, and what remains outside the frame?*

The group begins with gates made of light: a blue patterned screen in a stone hall, a passage opening into glare, a ruined sequence of arches, and a small house glowing behind a warning sign. It then moves into systems that organize movement—traffic, a horse herd, a reservation-only landscape, and an aerial boundary between homes and palms. These images make access visible as pace, scale, and distance, with each threshold regulating more than the line between inside and out.

The next movement is historical and infrastructural. A weathered wall carries graffiti after its barrier has weakened; an industrial compound carries painted words; water radiates through a fluted structure the artist identifies as a spillway; a train window frames two women against the memory of liberation. The final works place the checkpoint in the body and the interface: a refrigerator, a concealed torso, a small booklet or document held in a theatrical room, and an “Esc” key that promises an exit to a subject too small to use it.

Taken together, the photographs keep freedom open as a live question. They show how an opening can filter, how a road can be open and still rationed, how a document can enable passage while exposing a person, and how a house can remain visible from the wrong side of a gate. Staged images, documentary views, collage, long exposure, and focus stacking make different kinds of access visible. The [research publication](curatorial-essay.md), *Access, Control, and Exit*, follows those formal and historical relations through sustained close readings.

The sequence supplies a curatorial order for reading the group. The final acquired quantity may be fewer than sixteen because availability, terms, documentation, minting, purchase, and program quantity remain open. The written scholarship, Work records, visual descriptions, and contextual image presentation form the current accession-publication edition. Fourteen Works are presented at 640, 1280, and 2400 pixels; OUT-004 and OUT-011 are restricted to 640 pixels. OUT-004, OUT-010, and OUT-011 retain their work-specific age, identity, consent, privacy, document-legibility, venue, and sensitive-biography cautions. Those cautions constrain interpretation and reuse; they do not erase the Works from the selected acquisition or consign the Museum's accession work to a future reviewer. The group’s current relationship is summarized below; the [Research and record](institutional-record.md) page keeps the supporting record.

## Visual sequence — curatorial order

| Sequence | Works | Artists | Shared visual question |
|---|---|---|---|
| Apertures and exits | [*Take the Key!*](works/take-the-key.md), [*No Key, Only Light*](works/no-key-only-light.md), [*Rusted*](works/rusted.md), [*No Access*](works/no-access.md) | [GulYildiz](artists/gulyildiz.md), [intrepid](artists/intrepid.md), [Teyhu](artists/teyhu.md), [Veerendra](artists/veerendra.md) | What can be seen through an opening before passage is granted? |
| Managed movement | [*the Artist in the Open Sea*](works/the-artist-in-teh-open-sea.md), [*Managed Freedom*](works/managed-freedom.md), [*the cost of open*](works/the-cost-of-open.md), [*Dichotomy.*](works/dichotomy.md) | [HugoFaz](artists/hugofaz.md), [nasimghanizadeh](artists/nasimghanizadeh.md), [priyanka](artists/priyanka.md), [Rakesh](artists/rakesh.md) | Who sets the speed, route, or altitude of movement? |
| Residual infrastructures | [*Residual Barrier*](works/residual-barrier.md), [*Now Is Our Time*](works/now-is-our-time.md), [*Morning Glory*](works/morning-glory.md), [*Fight for Freedom*](works/fight-for-freedom.md) | [ikertje](artists/ikertje.md), [pandelic](artists/pandelic.md), [Zoku](artists/zoku.md), [shamspranto](artists/shamspranto.md) | What remains after a barrier changes function? |
| Bodies and interfaces | [*The Hostile Gate*](works/the-hostile-gate.md), [*Checkpoint*](works/checkpoint.md), [*Sina Beizavi in Brazil*](works/sina-beizavi-in-brazil.md), [*Nowhere To Esc.*](works/nowhere-to-esc.md) | [GIANT](artists/giant.md), [Minalisa](artists/minalisa.md), [HugoFaz](artists/hugofaz.md), [arsonic](artists/arsonic.md) | When does the body or command become the checkpoint? |

## Artists

[GulYildiz](artists/gulyildiz.md) · [HugoFaz](artists/hugofaz.md) · [nasimghanizadeh](artists/nasimghanizadeh.md) · [intrepid](artists/intrepid.md) · [ikertje](artists/ikertje.md) · [GIANT](artists/giant.md) · [priyanka](artists/priyanka.md) · [Rakesh](artists/rakesh.md) · [pandelic](artists/pandelic.md) · [Minalisa](artists/minalisa.md) · [Teyhu](artists/teyhu.md) · [arsonic](artists/arsonic.md) · [Zoku](artists/zoku.md) · [shamspranto](artists/shamspranto.md) · [Veerendra](artists/veerendra.md)

HugoFaz appears twice in the selected group, in OUT-002 and OUT-011. Each work has a separate treatment; the artist has one canonical profile.

## Relationship and status

> Program: **Keys and Gates**, `6529NM-AP-01`  
> Curated Acquisition ID: `6529NM-CA-2026-002`  
> Selected works: **16**  
> Visitor state: **Selected through an acquisition program; acquisition pending**  
> Mint qualifier: **Not yet minted; minting route under consideration**
> Artist count: **15**  
> Collection relationship: **Not in the permanent Collection; no accession recorded.**

The display title for OUT-015 follows the exact UTF-8 submission/media text: *মুক্তিযুদ্ধ - Fight for Freedom*. A compact [transcription and correction note](institutional-record.md#transcription-and-correction-note) records the source-layer history; the historical JSON remains unchanged.

Access, Control, and Exit

# Access, Control, and Exit

Sixteen photographs selected in 2026 move across four registers: apertures and exits, managed movement, residual infrastructures, and bodies and interfaces. A blue patterned screen, a fort passage, a tub in traffic, a horse herd, a reserved landscape, a palm boundary, a weathered wall, a fluted water structure, train windows, a refrigerator, a concealed torso, a document, and a separated Esc key give the argument its materials.

The sequence follows the catalogue’s curatorial order. The first group measures light and distance; the second puts routes and bodies under pressure; the third follows control into walls, sites, water, and public memory; the fourth brings those questions into domestic space, the pictured body, and the interface. Close looking keeps the comparisons attached to each photograph.

## Apertures and exits

In GulYildiz’s [*Take the Key!*](works/take-the-key.md), a small figure stands before a tall patterned screen inside a stone interior. Blue geometry breaks daylight into long bands across the floor. The screen has the authority of a wall and the behaviour of a filter: it admits brightness in pieces and keeps the figure at a distance from whatever lies beyond. The artist links the image to knowledge, authority, digital sovereignty, and self-custody. The photograph gives those ideas an optical structure before any claim is resolved.

The two silhouettes in [*No Key, Only Light*](works/no-key-only-light.md) occupy a rough passage at Fort Frederick. Their path narrows through stone and ends in white glare. The artist’s account connects that personal movement to surveillance; public site history independently supports the fort’s documented defence and revolutionary context. Facial detail is absent from the frame. The image records a return; the family and pandemic-travel narrative remains attributed to the artist, while public site history supplies the architectural frame.[^1]

Teyhu’s [*Rusted*](works/rusted.md) carries the threshold deeper into a damaged interior. Receding arches establish a corridor of diminishing scale, and the distant figure’s keys appear as a small glint within the ruin. The artist describes rust as a promise worn down by use. The photograph leaves the building unnamed, so its broken plaster and exposed brick stay with the experience of delay; no single authorized history is established.

Veerendra’s [*No Access*](works/no-access.md) builds the barrier by hand. A white house and red roof sit beneath a starry sky; a path ends at a lit gate and warning sign. Focus stacking keeps the miniature scene unusually legible, allowing the viewer to inspect every part of the distance while the figure remains outside. Scale is the work’s pressure point: shelter is close enough to see, and permission is still a small sign across the path.

## Managed movement

In HugoFaz’s [*the Artist in the Open Sea*](works/the-artist-in-teh-open-sea.md), a sharply defined performer sits in a white tub or boat amid traffic streaked by long exposure. The road is all speed and directional force; the performer occupies a still pocket inside it. The artist’s marketplace analogy gives the composite a social charge. What the image contributes is a body held at a different tempo from the infrastructure carrying everything around it.

In [*Managed Freedom*](works/managed-freedom.md), a rider and a white rearing horse rise above a crowded herd. The lifted horse creates an instant of vertical force, but the animals below fill the plain with pressure, command, and collective direction. The artist associates the scene with migration, shelter, refusal, and negotiated freedom. The photograph’s openness comes with a choreography: bodies move through a field whose apparent breadth never removes the structures that direct them.

In Priyanka’s [*the cost of open*](works/the-cost-of-open.md), turquoise water, dark forest, and the Valley of the Ten Peaks under snow form the group’s most conventionally inviting view. Its access machinery stays outside the frame. Parks Canada currently states that Moraine Lake Road is closed to personal vehicles year-round and that shuttle access requires a reservation; the artist’s submission relates those conditions to queues, capacity, time, and cost. Nothing in the calm view discloses the reservation, shuttle, queue, time, and cost required to reach it.[^2]

Rakesh Pulapa’s aerial [*Dichotomy.*](works/dichotomy.md) compresses movement into a diagram. Dense roofs meet a regimented palm plantation along an edge drawn almost ruler-straight across the frame. The submission calls the cultivated side a prison garden and the other side a neighbourhood; the facility remains unidentified in the public record. From above, land use becomes pattern, and the question of access includes the unequal viewpoints from which a boundary can be mapped.

## Residual infrastructures

In ikertje’s [*Residual Barrier*](works/residual-barrier.md), a weathered concrete wall holds the lower edge of a pale sky. Graffiti and surface damage interrupt its mass, while the horizontal line keeps the old force of a barrier present in the eye. The artist attributes the photograph’s location to Berlin in 2011; the precise site and any relationship between the pictured structure and the former Berlin Wall remain unverified. Its subject is the persistence of a boundary as material and memory after the exact site and original function have receded.[^3]

pandelic’s [*Now Is Our Time*](works/now-is-our-time.md) locates residue in a changing industrial compound. Barred openings, lamps, layered graffiti, and the painted sentence occupy one black-and-white field. RAW-Gelände’s documented movement from railway repair works through shutdown, cultural use, and redevelopment gives the site a history of changing access; the image holds the slogan inside that unstable property story. The painted words occupy the present frame, while the building records how quickly a present can become a contested layer.

Zoku’s [*Morning Glory*](works/morning-glory.md) looks up through a dark, fluted structure the artist identifies as a spillway. Water radiates from a centre below the frame and gathers the light into a narrow opening of sky. The artist describes an automated pressure-regulation system at San Roque Dam. Public technical material supports a 1944 dam phase; the particular component, operating conditions, and full automation claim remain attributed to the submission.[^4] The image places water, concrete, and hidden machinery in the same visual field.

In shamspranto’s [*মুক্তিযুদ্ধ - Fight for Freedom*](works/fight-for-freedom.md), two women lean from separate windows of a weathered teal train. One meets the outside with her face; the other shields part of hers with an orange head covering. A torn poster enters below them, its provenance and relation to the Liberation War unresolved. The Bangla title invokes the 1971 historical frame, while the contemporary collage keeps the scene in the present. Windows, tracks, and poster divide public movement from private memory; the source of the image’s history remains unsettled.

## Bodies and interfaces

GIANT’s [*The Hostile Gate*](works/the-hostile-gate.md) brings the gate into a kitchen. A shirtless figure opens a refrigerator covered in colourful magnets; the door releases a pale vertical light, and the sparse interior refuses the comfort the appliance promises. In the artist’s self-portrait project, the domestic gesture carries appetite, body image, and self-judgement. The photograph keeps the threshold close to the hand: access to provision is also a moment of self-measurement.

Minalisa’s [*Checkpoint*](works/checkpoint.md) gives the body a different kind of border. Black fabric folds around a bare torso and removes the face from the scene. Exposure and concealment occupy the same crop, with clothing setting the terms of the viewer’s approach. The submission connects the image to bodily ownership, movement, and the gaze of others; the public treatment keeps that account attributed and the person’s identity open.

In [*Sina Beizavi in Brazil*](works/sina-beizavi-in-brazil.md), HugoFaz places the sitter in an ornate gold chair with bright sandals and a small dark booklet or document. In the historical 640px presentation review, its text was not readable. Gold ornament supplies a theatrical welcome; the object in the sitter’s hand introduces administration into the room. The catalogue uses “the sitter” and leaves personal biography and identifiers outside the public interpretation. The arrangement places ease, display, and proof in the same chair.[^5]

arsonic’s [*Nowhere To Esc.*](works/nowhere-to-esc.md) reduces the credential to keyboard scale. Black keys spell “NO / WHERE / TO,” while the Esc key sits apart beside a small ant. The separation changes the phrase’s rhythm: the command is readable, and the promised exit remains physically displaced. The ant supplies a vulnerable scale against the hard certainty of the keys. The Esc key names an exit from the far edge of the layout; its separation makes escape legible and physically remote.

## A material comparison

Read in curatorial order, the group moves from openings that admit light to routes that choreograph bodies, then to infrastructures whose former controls survive as wall, industrial site, waterwork, and train. The final register brings the question into the body and the interface: a refrigerator door, a concealed torso, a document, and an Esc key.

Across the group, light breaks into bands; traffic and herds set competing tempos; the lake and palm boundary expose access systems beyond the frame; walls, water, and train windows carry histories forward; bodies and objects make proof visible. The comparison rests on those specific forms: broken light, blocked paths, directed bodies, surviving walls, controlled water, train windows, documents, and a displaced Esc key.

## Notes and source record

[^1]: Fort Frederick’s public architectural history and the distinction between site context and the artist’s account are recorded in the [context register](contexts/index.md#fort-frederick-grenada-out-004). The family narrative, date discrepancy, and consent representation remain attributed to the submission.
[^2]: Parks Canada, [Visiting Lake Louise and Moraine Lake](https://parks.canada.ca/pn-np/ab/banff/visit/parkbus/louise), accessed 8 August 2026; the [Moraine Lake context entry](contexts/index.md#moraine-lake-access-out-007) keeps the official access policy separate from the artist’s 2024 capture conditions.
[^3]: The [Berlin Wall context entry](contexts/index.md#berlin-wall-residual-barrier-out-005) and [source register](sources-and-bibliography.md) identify the public historical sources and preserve the unresolved exact location.
[^4]: The [San Roque context entry](contexts/index.md#san-roque-dam-claim-out-014) cites the Instituto Nacional del Agua publication for the narrow 1944 dam-phase claim. The artist’s component and operating-description remain source-attributed.
[^5]: The visual description and document-legibility boundary are recorded in the [media join](media-joins.md#out-011), [rights register](rights-and-consent.md#display-specific-ethical-basis), and [current media-delivery amendment](media-delivery-withdrawal-amendment-2026-08-09.md).

## Revision history

- `1.4` (`supersedes: 1.3`) — 2026-08-16: replaced three abstract or grammatically awkward
  formulations with direct descriptions of the photographs and their access
  evidence; no selection, attribution, rights, or program status changed.
- `1.3` — 2026-08-16: replaced an opaque interface metaphor with a direct
  account of the Esc key's position and visual effect; no selection,
  attribution, evidence, rights, or program status changed.
- `1.2` — 2026-08-15: copy-edited the public Research edition for direct
  museum language; no selection, attribution, evidence, rights, or program
  status changed.
- `1.1` — 2026-08-08: published the complete sixteen-work curatorial essay.

Keys and Gates — institutional and source record

# Keys and Gates — institutional and source record

This page is the control and evidence layer for the public [Keys and Gates](curated-acquisition.md) catalogue page. It preserves the distinction between visitor-facing curatorial prose and the records required for acquisition, rights, technical, and accession review.

## Research publication record

The [Research Publication, *Access, Control, and Exit*](curatorial-essay.md)
is the deep comparative essay for this edition. Its public text carries the
image-grounded argument and source notes; the publication controls are kept
here.

| Field | Retained value |
|---|---|
| Edition | 1.1 · 8 August 2026 |
| Author | 6529 Network Museum, Curatorial Research |
| Research cutoff | 8 August 2026 UTC |
| Stable edition | *Keys and Gates* Research Publication, edition 1.1, bound to Curated Acquisition `6529NM-CA-2026-002` |
| Suggested citation | 6529 Network Museum. “Access, Control, and Exit.” *Keys and Gates* Research Publication, edition 1.1, 8 August 2026. Curated Acquisition `6529NM-CA-2026-002`. |

### Publication revision history

- **1.1 · 8 August 2026:** Recast the essay as a distinct comparative
  publication; separated aperture, managed movement, residue, and credential;
  added official Moraine Lake access citation and narrower San Roque wording;
  and moved publication controls out of the essay body.
- **1.0 · 8 August 2026:** Published the initial comparative essay alongside
  the concise Curated Acquisition gateway.

## Current control state

| Field | Retained value |
|---|---|
| Acquisition Program | `6529NM-AP-01` |
| Curated Acquisition ID | `6529NM-CA-2026-002` |
| Program status | `selection_complete_acquisition_and_accession_unverified` |
| Status observation | `2026-08-01T15:03:35Z` |
| Selected-outcome state | `selected_unminted` |
| Selected outcomes | 16, ranked 1–16 |
| Distinct artist handles | 15 |
| Program Wave | `4ff022b3-aa17-4a0a-ba78-58f64ff1d427` |
| Description drop | `71c798bc-629d-46f2-8610-507a91be4f57`, serial `972000` |
| Formal program note | [`program.json`](../program.json) |
| Outcome index | [`selected-works.json`](../selected-works.json) |
| Evidence inventory | [`notes/research/keys-and-gates-evidence.md`](../../../../notes/research/keys-and-gates-evidence.md) |

This is the latest retained control observation in the canonical repository. It is not a live status refresh on the date of this editorial build.

## Selection evidence and boundary

The retained evidence supports sixteen signed `WINNER` submissions in the program Wave. The selection record explicitly says that sixteen is not a guaranteed acquisition quantity; rank-order fallback applies when a selected work is unavailable or fails program terms, and final quantity is related to Meme Card mints.

The program terms record a planned price of `0.5 ETH` per acquired work and a planned custody reference of `networkmuseum.6529.eth`. Those are program terms and planning references. The evidence set contains no verified mint, deployed contract, token ID, CAIP-19 identity, purchase, payment, title passage, transfer, custody receipt, or accession for these outcomes.

The future acquisition method is described in the working ontology as primary mint and purchase under program terms. Mint topology remains undecided between a dedicated 6529Stream instance and a main-Stream subcollection. No topology, contract, or transaction should be inferred from the selected state or the media derivatives.

## Registrar gates

Before an outcome can move from selection toward acquisition or accession, the program record requires review of:

1. artist availability and final program terms;
2. artist identity, public credit, title, and authority;
3. effective CC0 instrument and depicted-person consent;
4. contract, network, token, metadata, and media identity;
5. purchase and mint transaction evidence;
6. a title binding for the specific transfer;
7. custody receipt and independent custody verification;
8. technical, condition, preservation, accessibility, and display readiness;
9. curatorial and mission fit;
10. accession statement and individual object record; and
11. second-person review.

The current [rights and consent register](rights-and-consent.md), [media join register](media-joins.md), and [independent accessibility review](accessibility-review-2026-08-11.md) record the review already completed and the facts that remain open. No consent or private source instrument is retained in this public Museum record; later documents enter the appropriate registrar layer. Open facts remain evidence boundaries, not a reason to leave the present review unwritten.

## Public/restricted boundary

Public now: selection identifiers, artist handles and approved public-source biographies, artist-attributed submission readings, reviewed visual descriptions, contextual presentation copies, source links, typed media joins, and explicit unknowns.

Not retained or still to be established: legal identity documents, direct contact details, model releases, consent instruments, sensitive locations, unredacted passport/document details, original high-resolution bytes, layered source files, exact site permissions, title documents, transaction evidence, custody receipts, and technical preservation packages. No consent or source instrument is represented as being held in this record; future receipt would be handled in a restricted registrar layer.

The public corpus does not publish private contact information or treat a platform handle as a legal identity. Sensitive biography, migration, sexuality, religion, nudity, minor status, and location claims remain attributed, minimized, or held pending direct approval.

## Media and rights boundary

The existing [`PROGRAM_MEDIA_MANIFEST`](../media-manifest.json) identifies submitted-source observations, source fixity, the deterministic transform, and the current delivery control. The source bytes were fixity-checked during derivation and are not retained in the repository. The [current display authority](media-display-authorization-amendment-2026-08-11.md) admits 44 exact presentation derivatives: three widths for fourteen Works and a 640-pixel copy for OUT-004 and OUT-011. Presentation surrogates remain distinct from source originals, preservation masters, tokenized artworks, and evidence that rights have become effective.

The manifest’s `rights_effective_status` remains controlling for each outcome. Artist statements that say “CC0,” “CCO,” or that all rights are held are submission assertions until the Museum receives and reviews an effective rights instrument, authorship/title evidence, third-party-material status, and any required depicted-person consent.

Creative Commons’ public guidance also separates copyright dedication from personality, privacy, publicity, and trademark rights. The [rights register](rights-and-consent.md) applies that distinction to people, minors, nudity, passports, graffiti, posters, sites, and physical miniatures.

The historical visual descriptions and their typed projections are documented in the [initial accessibility amendment](accessibility-amendment.md), the [OUT-013 amendment](accessibility-amendment-2026-08-08-002.md), and [amendment 003](accessibility-amendment-2026-08-08-003.md). The historical OUT-011 and OUT-004 delivery readbacks and the 9 August withdrawal remain in the append-only source history. The [11 August accessibility review](accessibility-review-2026-08-11.md) and [display authority](media-display-authorization-amendment-2026-08-11.md) control the present edition. These derived records do not change source bytes, selected-outcome status, or `rights_effective_status`.

## Transcription and correction note

The public page renders OUT-015 as **মুক্তিযুদ্ধ - Fight for Freedom**, following the exact UTF-8 title in the retained artist submission/media evidence. `selected-works.json` remains the source-layer title record; this page records the display transcription and its direct evidence without claiming corruption or silently rewriting the canonical JSON.

The same source discipline applies to other title or credit questions: OUT-002 preserves the submitted `teh` spelling pending artist confirmation; the `GulYildiz`/`Gül Yıldız` association is supported by the signed submission and Fujifilm profile; `pandelic`/Eric Pan, `Minalisa`/Mina Rahmani, `shamspranto`/Shams Nayeem Pranto, and `Veerendra`/Veerendra Jillella remain source-layer associations with unresolved authority questions where indicated.

## WP-1 integration dependencies

The content layer depends on the shared definitions listed in [schema-dependencies.md](schema-dependencies.md) and the [current publication integration record](publication-integration.md). The program-media control records all sixteen descriptions as `constructed_visual_description_reviewed` and requires the exact display-authority record before any public derivative can be admitted.

Integration must preserve:

- `6529NM-AP-01` and `6529NM-AP-01-OUT-###` identifiers;
- `selected_unminted` and the formal program status;
- Work, agent, right/permission, evidence, record, package, manifestation, and presentation-surrogate distinctions;
- observation times, fixity, evidence grades, and negative evidence;
- append-only corrections with `supersedes`; and
- public/restricted separation.

## Presentation and publication boundary

The written scholarship, contextual image presentation, responsive derivative set, and reviewed visual descriptions form the current accession-publication candidate. OUT-004, OUT-010, and OUT-011 retain explicit consent, identity or age, document, venue, and privacy boundaries; OUT-004 and OUT-011 remain 640 pixels only. The controlling records are the [display authority](media-display-authorization-amendment-2026-08-11.md), [accessibility review](accessibility-review-2026-08-11.md), [`docs/program-media-delivery.md`](../../../../docs/program-media-delivery.md), and [`docs/programs/keys-and-gates.md`](../../../../docs/programs/keys-and-gates.md). Earlier publication and withdrawal amendments remain historical.

## Exact non-claims retained for audit

The public corpus does not establish:

- minting, deployment, token ID, contract, network, metadata, or CAIP-19 identity;
- purchase, payment, sale completion, title passage, or acquisition completion;
- transfer to or receipt by `networkmuseum.6529.eth`;
- effective CC0, model release, depicted-person consent, or unrestricted reproduction rights;
- preservation-master creation or token-level technical completion;
- accession, accession number, Collection membership, or permanent-holding status; or
- that all sixteen selected works will ultimately be acquired.

Those boundaries are deliberately kept here so the visitor-facing page can remain a sustained photographic argument.

Keys and Gates - current media-delivery withdrawal

# Keys and Gates - current media-delivery withdrawal

**Record ID:** `6529NM-AP-01-MEDIA-DELIVERY-2026-08-09-008`

**Supersedes for current delivery state:** amendments 004, 005, 006, and the delivery portion of amendment 007

**Record type:** append-only derived media-delivery amendment

**Revision:** 1

**Issued:** 9 August 2026

**Constructor:** 6529 Network Museum, Curatorial Research and Registrar

**Independent exact-commit review:** pending

## Current delivery state

The active program media manifest records:

## Historical record

## Restoration gate

## Revision history

Keys and Gates — image presentation authorization

# Keys and Gates — image presentation authorization

**Record ID:** `6529NM-AP-01-MEDIA-DISPLAY-2026-08-11-009`

**Supersedes for current image delivery:** `6529NM-AP-01-MEDIA-DELIVERY-2026-08-09-008`

**Issued:** 11 August 2026

**Authority:** 6529 Network Museum editorial direction
**Scope:** contextual display of the sixteen selected submissions

The Museum authorizes the public presentation of the sixteen images selected
through Keys and Gates. The images are shown so that visitors can encounter
the program as a work of curation, read the photographs together, and follow
the artists and individual work records.

This authorization governs display. It does not complete the planned mint or
purchase, transfer title or custody, activate the program's prospective CC0
terms, admit a work to the permanent Collection, or create a public download
right. The current label remains: **selected through Keys and Gates;
acquisition and minting pending**.

## Presentation set

The active presentation set is the exact group recorded in
`selected-works.json` and `media-manifest.json`. Each image is a deterministic
WebP surrogate made from the artist's submitted source. The manifest binds the
source observation, transform profile, dimensions, file size, SHA-256 digest,
repository path, delivery URL, and visual description for every released
surrogate.

Fourteen works may use the 640, 1280, and 2400 pixel widths. OUT-004 and
OUT-011 use the 640 pixel surrogate only. Those limits retain the prior
work-specific editorial disposition for images involving children described
by the submitting artist or nudity with an unresolved consent instrument.
The limitation is a publication measure, not a finding about identity, age,
consent, or any undisclosed fact.

## Conditions of display

- Images appear only in the Keys and Gates program, curated acquisition,
  artist, and work contexts.
- Every presentation carries the recorded artist, title, program status, and
  rights boundary.
- Images are shown without cropping and without a download, IIIF, or
  preservation-master claim.
- The website does not identify depicted people beyond the public record and
  does not infer age, consent, biography, location, or circumstance.
- The submitted source and the web surrogate remain distinct. The source is
  not offered to visitors.
- A later rights, consent, title, mint, custody, accession, or preservation
  record may add facts. None is inferred here.

## Current technical binding

The active `media-manifest.json` records delivery status
`approved_by_reviewed_display_authority` and cites this record. Its revision 3
restores the exact immutable derivative bytes preserved in repository history
and retains the 9 August withdrawal as an append-only predecessor.

## Revision history

- **1 — 11 August 2026:** Authorized contextual image presentation for all
  sixteen selected works, restored the governed responsive derivatives, kept
  two work-specific 640 pixel limits, and preserved all acquisition, rights,
  reuse, identity, and preservation boundaries.

Keys and Gates - media and visual-description record

# Keys and Gates - media and visual-description record

This record joins the sixteen selected outcomes to the Museum's visual
descriptions, source observations, fixity, and contextual presentation copies.
The [current display authority](media-display-authorization-amendment-2026-08-11.md)
admits fourteen Works at 640, 1280, and 2400 pixels and restricts OUT-004 and
OUT-011 to 640 pixels.

## Record boundary

For each outcome, the active join is:

```text
selected outcome
  -> source observation and source fixity
  -> reviewed visual description
  -> typed Media record and exact presentation derivatives
  -> contextual visitor display with no download or reuse grant
```

The source observations remain upstream public submission evidence and are
not themselves Museum presentation links. The active derivatives are web
presentation surrogates, distinct from source downloads, preservation masters,
token manifestations, and evidence of title or accession. Historical delivery
states remain in the append-only amendment chain.

## Current joins

| Outcome | Source SHA-256 | Source pixels | Constructed visual description | Active delivery |
|---|---|---:|---|---|
| <a id="out-001"></a>OUT-001 | `sha256:898df24ecb82ac0b32ca99e995e5c1b027c47d6b1bef8d636eb2b06640d9ea66` | 3243 × 4864 | A lone figure stands before a tall blue patterned gate as sunlight casts long geometric shadows across a stone hall. | 640, 1280, 2400 |
| <a id="out-002"></a>OUT-002 | `sha256:e3d4f538d4c9d3aa79a1d7ed11e93819a806fad85dbed4b8b38e9c62528d55fe` | 6000 × 4000 | An elevated view shows blurred buses and traffic around a sharply defined performer seated in a small blue vessel on the roadway. | 640, 1280, 2400 |
| <a id="out-003"></a>OUT-003 | `sha256:4efc4651598006e212d159710714181c61dc3dfdc80719b7ae8a573f382d9eca` | 6720 × 4480 | A rider on a rearing white horse rises above a herd of brown horses on a wide plain beneath hazy mountains. | 640, 1280, 2400 |
| <a id="out-004"></a>OUT-004 | `sha256:30e39b61e696cdab4b3a54beec5b33c2152f7440343479a45bc7bfe2175b0782` | 4160 × 4160 | Two silhouetted figures walk toward daylight at the end of a rough stone passage. | 640 only; age and consent scope remain open |
| <a id="out-005"></a>OUT-005 | `sha256:5df39d20ceb215cc93831e52bf9a8b27f332e5e94f613fb3c8f377200ea5daca` | 3780 × 2452 | A long weathered concrete barrier with faded graffiti divides a pale sky from a dark foreground. | 640, 1280, 2400 |
| <a id="out-006"></a>OUT-006 | `sha256:29db1bb746118e074cf6cbad247be4874ada7840fd3b025c37903bd87082a233` | 3804 × 2536 | A shirtless man opens a refrigerator covered in colorful magnets in a domestic kitchen. | 640, 1280, 2400 |
| <a id="out-007"></a>OUT-007 | `sha256:02a8ce8495cbea2bce1475a940a436310abc0fd979ff42114f9bf7a1953e9103` | 10080 × 5670 | A turquoise mountain lake is bordered by evergreen forest and a jagged, snow-dusted mountain range. | 640, 1280, 2400 |
| <a id="out-008"></a>OUT-008 | `sha256:03950568f8819a8209f4931380e05b28b17408679a838f8043987b93d2e7fc3b` | 2952 × 3888 | A vertical aerial view shows dense residential roofs meeting an ordered palm plantation along a sharp boundary. | 640, 1280, 2400 |
| <a id="out-009"></a>OUT-009 | `sha256:c6d7f689d7e532cedeaba69270c0775ccf619bbfbbd0f0c5bd9c182e1eb64314` | 3008 × 2000 | Black-and-white industrial buildings sit beneath a cloudy sky, with the words NOW IS OUR TIME painted on a wall. | 640, 1280, 2400 |
| <a id="out-010"></a>OUT-010 | `sha256:f7445ec2e3d716ac8878ee7538001c1b45a2e29baf6f49fd090b86140ecb8162` | 4160 × 6240 | A bare torso emerges from folds of black fabric against a nearly black background. | 640, 1280, 2400; contextual display only |
| <a id="out-011"></a>OUT-011 | `sha256:4d7c6e452638a6dd091253bf1cc2c5b14e141920dd72a28dab5085bb7b4526fc` | 6000 × 4000 | A nude figure reclines on an ornate gold chair, wearing bright sandals, with one hand lowering a small dark booklet or document toward the floor; no text is readable on it. | 640 only; contextual display only |
| <a id="out-012"></a>OUT-012 | `sha256:4c9f68e4eee9cdf87f59cb960cac072dab8ec23e2b60a94095c38969412fa45b` | 5168 × 3648 | A person stands framed by successive arched doorways inside a heavily damaged building. | 640, 1280, 2400 |
| <a id="out-013"></a>OUT-013 | `sha256:dab5b9e0e5c82cff338f9f75c401cffe6a8b2a2f13e0b875526753cbc438d541` | 5000 × 5000 | Black keyboard keys spell NO / WHERE / TO on a white surface, while the Esc key sits apart below beside a small ant. | 640, 1280, 2400 |
| <a id="out-014"></a>OUT-014 | `sha256:caff170b0ba35c185f75c6e436c2557a9ef1743c399ca07dbb08848777239d03` | 2670 × 1878 | The camera looks upward through a dark, fluted circular structure toward a small opening of sky. | 640, 1280, 2400 |
| <a id="out-015"></a>OUT-015 | `sha256:2e2a0c1d7ace2f24a15d5a0e2c448b38756c86fab8e31b66a04d797ba3d22a12` | 2800 × 4000 | Two people lean from the windows of a weathered teal train; one wears a bright orange head covering. | 640, 1280, 2400 |
| <a id="out-016"></a>OUT-016 | `sha256:6f2e18606cc3fc4c3af0fadb3a275ef0a739c00463481bfb5fa511be238f5b73` | 4896 × 3917 | A small white house with a red roof stands on a hill beneath a starry sky, beyond a lit gate with a posted sign and a silhouetted figure. | 640, 1280, 2400 |

## Accessibility state

All sixteen descriptions have been checked against the active presentation
copies. They describe visible material without identifying people or inferring
legal status. OUT-004 keeps the figures non-identifying; OUT-010 describes the
visible torso without inferring identity or age; OUT-011 records the document's
reduced legibility without transcribing an identifier.

The current manifest, accessibility inventory, typed Media records, and this
table form a one-to-one set of sixteen. CI binds every admitted derivative to
its exact source fixity, transform profile, public width, display authority,
and no-reuse boundary.

presentation-manifest

{
  "$schema": "../../../../schemas/program-media-presentation.schema.json",
  "record_control": {
    "revision": 1,
    "record_status": "constructed",
    "constructor": {
      "actor_id": "codex-task:network-museum-exhibition-media-2026-08-11",
      "role": "constructor",
      "constructed_at": "2026-08-11T22:44:52.647Z"
    },
    "review": null
  },
  "record_type": "PROGRAM_MEDIA_PRESENTATION",
  "schema_profile": "6529NM_PROGRAM_MEDIA_PRESENTATION_V1",
  "program_id": "6529NM-AP-01",
  "source_manifest_revision": 4,
  "generated_at": "2026-08-11T22:44:52.647Z",
  "transform_profile": "6529NM_WEB_PRESENTATION_WEBP_V2_Q82_M6_FIXED_ICC",
  "delivery": {
    "status": "approved_by_reviewed_display_authority",
    "authority_record_id": "6529NM-AP-01-MEDIA-DISPLAY-2026-08-11-009",
    "cache_control": "public, max-age=31536000, immutable"
  },
  "items": [
    {
      "record_id": "6529NM-AP-01-OUT-001",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A lone figure stands before a tall blue patterned gate as sunlight casts long geometric shadows across a stone hall.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 960,
            "mime_type": "image/webp",
            "sha256": "sha256:3e20417e312f145184476d3c122992754899a136313359e72294eb8f781d59f0",
            "byte_size": 126768,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-001/898df24ecb82ac0b32ca99e995e5c1b027c47d6b1bef8d636eb2b06640d9ea66/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-001/898df24ecb82ac0b32ca99e995e5c1b027c47d6b1bef8d636eb2b06640d9ea66/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 1920,
            "mime_type": "image/webp",
            "sha256": "sha256:d28e89b7ca58647ce0b7a0979ca8138d4213c3c0b4080d76b7f154b522612b04",
            "byte_size": 510514,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-001/898df24ecb82ac0b32ca99e995e5c1b027c47d6b1bef8d636eb2b06640d9ea66/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-001/898df24ecb82ac0b32ca99e995e5c1b027c47d6b1bef8d636eb2b06640d9ea66/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 3600,
            "mime_type": "image/webp",
            "sha256": "sha256:a2c571eeec02f38b9408820769766897522e3697ceceed32d167e86706046696",
            "byte_size": 1617734,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-001/898df24ecb82ac0b32ca99e995e5c1b027c47d6b1bef8d636eb2b06640d9ea66/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-001/898df24ecb82ac0b32ca99e995e5c1b027c47d6b1bef8d636eb2b06640d9ea66/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-002",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "An elevated view shows blurred buses and traffic around a sharply defined person seated in a small blue tub or boat on the roadway.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 427,
            "mime_type": "image/webp",
            "sha256": "sha256:fc6d063ce1587e44ec90a58c3e4ad86574c88be98fcb32d67a14d361967f3a38",
            "byte_size": 53848,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-002/e3d4f538d4c9d3aa79a1d7ed11e93819a806fad85dbed4b8b38e9c62528d55fe/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-002/e3d4f538d4c9d3aa79a1d7ed11e93819a806fad85dbed4b8b38e9c62528d55fe/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 853,
            "mime_type": "image/webp",
            "sha256": "sha256:3d67ee66b9000bc4c461bf3e4f2a792b210eef107cdc8dda48e86ad32748425e",
            "byte_size": 196224,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-002/e3d4f538d4c9d3aa79a1d7ed11e93819a806fad85dbed4b8b38e9c62528d55fe/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-002/e3d4f538d4c9d3aa79a1d7ed11e93819a806fad85dbed4b8b38e9c62528d55fe/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1600,
            "mime_type": "image/webp",
            "sha256": "sha256:27be835c3c03027164944bfc914025f7eada3f6909cede05690bb27746fb5269",
            "byte_size": 659890,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-002/e3d4f538d4c9d3aa79a1d7ed11e93819a806fad85dbed4b8b38e9c62528d55fe/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-002/e3d4f538d4c9d3aa79a1d7ed11e93819a806fad85dbed4b8b38e9c62528d55fe/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-003",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A rider on a rearing white horse rises above a herd of brown horses on a wide plain beneath hazy mountains.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 427,
            "mime_type": "image/webp",
            "sha256": "sha256:c45f68c1907ac9475cea8f15288a96887e502567f61e35ee9ac09aa53ffa6461",
            "byte_size": 21572,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-003/4efc4651598006e212d159710714181c61dc3dfdc80719b7ae8a573f382d9eca/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-003/4efc4651598006e212d159710714181c61dc3dfdc80719b7ae8a573f382d9eca/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 853,
            "mime_type": "image/webp",
            "sha256": "sha256:58d70f550e2ea17f6e727db7214f49ff52376917fbc6fb5260554cd39cf3749b",
            "byte_size": 57990,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-003/4efc4651598006e212d159710714181c61dc3dfdc80719b7ae8a573f382d9eca/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-003/4efc4651598006e212d159710714181c61dc3dfdc80719b7ae8a573f382d9eca/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1600,
            "mime_type": "image/webp",
            "sha256": "sha256:2e5f3c80266181f1d7f0cfb0ae235a243828063fd958ea9ff6ef62b5ba7a0db9",
            "byte_size": 154486,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-003/4efc4651598006e212d159710714181c61dc3dfdc80719b7ae8a573f382d9eca/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-003/4efc4651598006e212d159710714181c61dc3dfdc80719b7ae8a573f382d9eca/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-004",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "Two silhouetted figures walk toward daylight at the end of a rough stone passage.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 640,
            "mime_type": "image/webp",
            "sha256": "sha256:8e0915b020965a6090c868ba29397c03ee8322d84ebca32fe3714f0537d96987",
            "byte_size": 45202,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-004/30e39b61e696cdab4b3a54beec5b33c2152f7440343479a45bc7bfe2175b0782/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-004/30e39b61e696cdab4b3a54beec5b33c2152f7440343479a45bc7bfe2175b0782/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-005",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A long weathered concrete barrier with faded graffiti divides a pale sky from a dark foreground.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 415,
            "mime_type": "image/webp",
            "sha256": "sha256:5f0a87f5fbae6f0622578e4a60701da4f0b2c89fe7caa0303efff13ab9db5f0a",
            "byte_size": 65508,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-005/5df39d20ceb215cc93831e52bf9a8b27f332e5e94f613fb3c8f377200ea5daca/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-005/5df39d20ceb215cc93831e52bf9a8b27f332e5e94f613fb3c8f377200ea5daca/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 830,
            "mime_type": "image/webp",
            "sha256": "sha256:ad1dbefd5c47533b03ffdd1cf5ca451406c88ed8331cb332ca95c79ea1af47cc",
            "byte_size": 264520,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-005/5df39d20ceb215cc93831e52bf9a8b27f332e5e94f613fb3c8f377200ea5daca/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-005/5df39d20ceb215cc93831e52bf9a8b27f332e5e94f613fb3c8f377200ea5daca/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1557,
            "mime_type": "image/webp",
            "sha256": "sha256:b1f87960960fd00b23b4496dded66fa2b5751f068ff8e0ee689558522be51537",
            "byte_size": 840050,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-005/5df39d20ceb215cc93831e52bf9a8b27f332e5e94f613fb3c8f377200ea5daca/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-005/5df39d20ceb215cc93831e52bf9a8b27f332e5e94f613fb3c8f377200ea5daca/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-006",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A shirtless person opens a refrigerator covered in colorful magnets in a kitchen.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 427,
            "mime_type": "image/webp",
            "sha256": "sha256:ffa94eec90c5ce8240f50cf3ec733298f83373ff4f7b5d349c658a301e506bbe",
            "byte_size": 39400,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-006/29db1bb746118e074cf6cbad247be4874ada7840fd3b025c37903bd87082a233/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-006/29db1bb746118e074cf6cbad247be4874ada7840fd3b025c37903bd87082a233/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 853,
            "mime_type": "image/webp",
            "sha256": "sha256:d6c7f8b8ba024647cef1e3f96a99d12c837429a32e04b5cb27032ba981d0d4f9",
            "byte_size": 158136,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-006/29db1bb746118e074cf6cbad247be4874ada7840fd3b025c37903bd87082a233/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-006/29db1bb746118e074cf6cbad247be4874ada7840fd3b025c37903bd87082a233/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1600,
            "mime_type": "image/webp",
            "sha256": "sha256:fa68ea818c28e615c377fd521d779ce810417b6fc60fc4424d65b478ece98460",
            "byte_size": 862290,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-006/29db1bb746118e074cf6cbad247be4874ada7840fd3b025c37903bd87082a233/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-006/29db1bb746118e074cf6cbad247be4874ada7840fd3b025c37903bd87082a233/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-007",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A turquoise mountain lake is bordered by evergreen forest and a jagged, snow-dusted mountain range.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 360,
            "mime_type": "image/webp",
            "sha256": "sha256:52c1e505385117bd0339667ee61c70b19879714a48b48ca3256cd92fec02d90e",
            "byte_size": 36326,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-007/02a8ce8495cbea2bce1475a940a436310abc0fd979ff42114f9bf7a1953e9103/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-007/02a8ce8495cbea2bce1475a940a436310abc0fd979ff42114f9bf7a1953e9103/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 720,
            "mime_type": "image/webp",
            "sha256": "sha256:4f91f726853c4e98a3025c4edecfff8051545246d7139d907a13d22a0639ea11",
            "byte_size": 174120,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-007/02a8ce8495cbea2bce1475a940a436310abc0fd979ff42114f9bf7a1953e9103/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-007/02a8ce8495cbea2bce1475a940a436310abc0fd979ff42114f9bf7a1953e9103/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1350,
            "mime_type": "image/webp",
            "sha256": "sha256:4997f1f53f9a3bc11562d8901bd72ee8710f0c3ce742f4c3cead13a70b227a82",
            "byte_size": 755382,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-007/02a8ce8495cbea2bce1475a940a436310abc0fd979ff42114f9bf7a1953e9103/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-007/02a8ce8495cbea2bce1475a940a436310abc0fd979ff42114f9bf7a1953e9103/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-008",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A vertical aerial view shows dense residential roofs meeting an ordered palm plantation along a sharp boundary.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 843,
            "mime_type": "image/webp",
            "sha256": "sha256:655726c8c546d3e3d4b823f1b2d823343773a89fdd7ea3c69de3e60fd6181c6b",
            "byte_size": 212956,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-008/03950568f8819a8209f4931380e05b28b17408679a838f8043987b93d2e7fc3b/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-008/03950568f8819a8209f4931380e05b28b17408679a838f8043987b93d2e7fc3b/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 1686,
            "mime_type": "image/webp",
            "sha256": "sha256:e3d10c47ab3efab2a3dcb7e9be3ae36343e10a82af5a114b5446d0817bcab9ac",
            "byte_size": 736308,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-008/03950568f8819a8209f4931380e05b28b17408679a838f8043987b93d2e7fc3b/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-008/03950568f8819a8209f4931380e05b28b17408679a838f8043987b93d2e7fc3b/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 3161,
            "mime_type": "image/webp",
            "sha256": "sha256:c15ab20d4174349fe31fd675ba20a83e2ce73f12ae1fc55a5cd05573044b7f21",
            "byte_size": 2204002,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-008/03950568f8819a8209f4931380e05b28b17408679a838f8043987b93d2e7fc3b/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-008/03950568f8819a8209f4931380e05b28b17408679a838f8043987b93d2e7fc3b/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-009",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "Black-and-white industrial buildings sit beneath a cloudy sky, with the words NOW IS OUR TIME painted on a wall.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 426,
            "mime_type": "image/webp",
            "sha256": "sha256:72e55121d2828efa102b9fa7878ec54f282ff7e703fe7e1fe8f02b31c6825275",
            "byte_size": 23152,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-009/c6d7f689d7e532cedeaba69270c0775ccf619bbfbbd0f0c5bd9c182e1eb64314/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-009/c6d7f689d7e532cedeaba69270c0775ccf619bbfbbd0f0c5bd9c182e1eb64314/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 851,
            "mime_type": "image/webp",
            "sha256": "sha256:8b7b0be05829428a7a355524cd88187e5a87ab4c2a176456396c8d137f1ff7b6",
            "byte_size": 146068,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-009/c6d7f689d7e532cedeaba69270c0775ccf619bbfbbd0f0c5bd9c182e1eb64314/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-009/c6d7f689d7e532cedeaba69270c0775ccf619bbfbbd0f0c5bd9c182e1eb64314/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1596,
            "mime_type": "image/webp",
            "sha256": "sha256:d453986c8708a416bbf2bcfb87eb107b06e76396de14786539397d2307fae144",
            "byte_size": 823260,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-009/c6d7f689d7e532cedeaba69270c0775ccf619bbfbbd0f0c5bd9c182e1eb64314/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-009/c6d7f689d7e532cedeaba69270c0775ccf619bbfbbd0f0c5bd9c182e1eb64314/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-010",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A bare torso emerges from folds of black fabric against a nearly black background.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 960,
            "mime_type": "image/webp",
            "sha256": "sha256:0ef30e4f2e5b96edeb33f78ca906ba0352331fa1448dbdd8a627b0845ae12f17",
            "byte_size": 8080,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-010/f7445ec2e3d716ac8878ee7538001c1b45a2e29baf6f49fd090b86140ecb8162/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-010/f7445ec2e3d716ac8878ee7538001c1b45a2e29baf6f49fd090b86140ecb8162/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 1920,
            "mime_type": "image/webp",
            "sha256": "sha256:6c9668a3547732a853288008ac60774a8c66d1f9e65a7cb90c197cca2e63731d",
            "byte_size": 21378,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-010/f7445ec2e3d716ac8878ee7538001c1b45a2e29baf6f49fd090b86140ecb8162/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-010/f7445ec2e3d716ac8878ee7538001c1b45a2e29baf6f49fd090b86140ecb8162/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 3600,
            "mime_type": "image/webp",
            "sha256": "sha256:51791ac9835858bf7e7cd06fdfe018ba0f2d986b9e90481e0a7e7419d19f072c",
            "byte_size": 65456,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-010/f7445ec2e3d716ac8878ee7538001c1b45a2e29baf6f49fd090b86140ecb8162/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-010/f7445ec2e3d716ac8878ee7538001c1b45a2e29baf6f49fd090b86140ecb8162/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-011",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A nude figure reclines on an ornate gold chair, wearing bright sandals, with one hand lowering a small dark booklet or document toward the floor; no text is readable on it.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 427,
            "mime_type": "image/webp",
            "sha256": "sha256:14eea8754ea08d39dd5fe39d93f2f69dbce8e18e9f550a10f7e76bc6ec3fc784",
            "byte_size": 15306,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-011/4d7c6e452638a6dd091253bf1cc2c5b14e141920dd72a28dab5085bb7b4526fc/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-011/4d7c6e452638a6dd091253bf1cc2c5b14e141920dd72a28dab5085bb7b4526fc/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-012",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A person stands framed by successive arched doorways inside a heavily damaged building.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 452,
            "mime_type": "image/webp",
            "sha256": "sha256:33d7d68bdd19ec14b018d4da3cc47fdc614dfb1a4d325e3cc6ff3c00b26bea2d",
            "byte_size": 91810,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-012/4c9f68e4eee9cdf87f59cb960cac072dab8ec23e2b60a94095c38969412fa45b/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-012/4c9f68e4eee9cdf87f59cb960cac072dab8ec23e2b60a94095c38969412fa45b/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 904,
            "mime_type": "image/webp",
            "sha256": "sha256:0a5ad28fd5f5861f04fc275c779dc24f4c20f2d5a024e8f72f21aaa2e7cedb20",
            "byte_size": 303892,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-012/4c9f68e4eee9cdf87f59cb960cac072dab8ec23e2b60a94095c38969412fa45b/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-012/4c9f68e4eee9cdf87f59cb960cac072dab8ec23e2b60a94095c38969412fa45b/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1694,
            "mime_type": "image/webp",
            "sha256": "sha256:aee6a534b76098d92cd1f8d3070a6fe188efc19cb8c13b45208a34fddc4633f8",
            "byte_size": 995600,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-012/4c9f68e4eee9cdf87f59cb960cac072dab8ec23e2b60a94095c38969412fa45b/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-012/4c9f68e4eee9cdf87f59cb960cac072dab8ec23e2b60a94095c38969412fa45b/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-013",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "Black keyboard keys spell NO / WHERE / TU on a white surface, while the Esc key sits apart below beside a small ant.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 640,
            "mime_type": "image/webp",
            "sha256": "sha256:98422b16afc8a18d59ec229cbf613405f1368f1607e8547daff2cf15094b76b2",
            "byte_size": 14192,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-013/dab5b9e0e5c82cff338f9f75c401cffe6a8b2a2f13e0b875526753cbc438d541/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-013/dab5b9e0e5c82cff338f9f75c401cffe6a8b2a2f13e0b875526753cbc438d541/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 1280,
            "mime_type": "image/webp",
            "sha256": "sha256:e61d70d1613f809acc5b004a6d9769640237b25e23c76e38c77e6a2c20bc3732",
            "byte_size": 52782,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-013/dab5b9e0e5c82cff338f9f75c401cffe6a8b2a2f13e0b875526753cbc438d541/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-013/dab5b9e0e5c82cff338f9f75c401cffe6a8b2a2f13e0b875526753cbc438d541/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 2400,
            "mime_type": "image/webp",
            "sha256": "sha256:d3c5d998f2790e043b5b2883e7cbe25fcbb03ef34d04850758d8aa05064b4959",
            "byte_size": 144246,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-013/dab5b9e0e5c82cff338f9f75c401cffe6a8b2a2f13e0b875526753cbc438d541/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-013/dab5b9e0e5c82cff338f9f75c401cffe6a8b2a2f13e0b875526753cbc438d541/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-014",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "The camera looks upward through a dark, fluted circular structure toward a small opening of sky.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 450,
            "mime_type": "image/webp",
            "sha256": "sha256:6d823740d55efbb5b372297e7a13dd9e66a4e44f3b8ec3dfe9af8c19ebca5c45",
            "byte_size": 36502,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-014/caff170b0ba35c185f75c6e436c2557a9ef1743c399ca07dbb08848777239d03/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-014/caff170b0ba35c185f75c6e436c2557a9ef1743c399ca07dbb08848777239d03/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 900,
            "mime_type": "image/webp",
            "sha256": "sha256:9f76888d88d583be54d4a283fac16543cb4ef6c816978035a38320c83afb927e",
            "byte_size": 126870,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-014/caff170b0ba35c185f75c6e436c2557a9ef1743c399ca07dbb08848777239d03/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-014/caff170b0ba35c185f75c6e436c2557a9ef1743c399ca07dbb08848777239d03/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1688,
            "mime_type": "image/webp",
            "sha256": "sha256:2d64c95288438aa6fbab43b5c75a0eac9d9871f5e98c10bc87d4c726c3f5299a",
            "byte_size": 641796,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-014/caff170b0ba35c185f75c6e436c2557a9ef1743c399ca07dbb08848777239d03/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-014/caff170b0ba35c185f75c6e436c2557a9ef1743c399ca07dbb08848777239d03/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-015",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "Two people lean from the windows of a weathered teal train; one wears a bright orange head covering.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 914,
            "mime_type": "image/webp",
            "sha256": "sha256:848332c688bdce2a24c6e5482b8e13d48651f53b9cce941a745eff8435798c72",
            "byte_size": 56190,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-015/2e2a0c1d7ace2f24a15d5a0e2c448b38756c86fab8e31b66a04d797ba3d22a12/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-015/2e2a0c1d7ace2f24a15d5a0e2c448b38756c86fab8e31b66a04d797ba3d22a12/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 1829,
            "mime_type": "image/webp",
            "sha256": "sha256:d01bc25cd64b7a7433514965942d9870887ff7e44c0cee6db300670402593df7",
            "byte_size": 281082,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-015/2e2a0c1d7ace2f24a15d5a0e2c448b38756c86fab8e31b66a04d797ba3d22a12/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-015/2e2a0c1d7ace2f24a15d5a0e2c448b38756c86fab8e31b66a04d797ba3d22a12/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 3429,
            "mime_type": "image/webp",
            "sha256": "sha256:5a904e0b374a324d075ba1e525844f6de9332ec4524d6070e4cb5b4b34344537",
            "byte_size": 1271516,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-015/2e2a0c1d7ace2f24a15d5a0e2c448b38756c86fab8e31b66a04d797ba3d22a12/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-015/2e2a0c1d7ace2f24a15d5a0e2c448b38756c86fab8e31b66a04d797ba3d22a12/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    },
    {
      "record_id": "6529NM-AP-01-OUT-016",
      "presentation": {
        "role": "web_presentation_surrogate",
        "alt_text": "A small white house with a red roof stands on a hill beneath a starry sky, beyond a lit gate with a posted sign and a silhouetted figure.",
        "alt_text_status": "constructed_visual_description_reviewed",
        "public_widths": [
          640,
          1280,
          2400
        ],
        "derivatives": [
          {
            "width": 640,
            "height": 512,
            "mime_type": "image/webp",
            "sha256": "sha256:3e67afb1dd61d7fd5ead222637ca0c435d7db680e70a4c485377aa13b047a65f",
            "byte_size": 24194,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-016/6f2e18606cc3fc4c3af0fadb3a275ef0a739c00463481bfb5fa511be238f5b73/webp-v2-q82-m6-fixed-icc/640.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-016/6f2e18606cc3fc4c3af0fadb3a275ef0a739c00463481bfb5fa511be238f5b73/webp-v2-q82-m6-fixed-icc/640.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 1280,
            "height": 1024,
            "mime_type": "image/webp",
            "sha256": "sha256:057c40778d9428e6b1469e3e72c995fb9a43ca02d3b9aab07991b9c09ddf4996",
            "byte_size": 114054,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-016/6f2e18606cc3fc4c3af0fadb3a275ef0a739c00463481bfb5fa511be238f5b73/webp-v2-q82-m6-fixed-icc/1280.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-016/6f2e18606cc3fc4c3af0fadb3a275ef0a739c00463481bfb5fa511be238f5b73/webp-v2-q82-m6-fixed-icc/1280.webp",
            "cache_control": "public, max-age=31536000, immutable"
          },
          {
            "width": 2400,
            "height": 1920,
            "mime_type": "image/webp",
            "sha256": "sha256:24271a75f11bef7e0a531af4e7fbd52796b6d07a11d86bdc4ff2fae1d7783a9f",
            "byte_size": 358130,
            "repository_path": "media/programs/6529NM-AP-01/6529NM-AP-01-OUT-016/6f2e18606cc3fc4c3af0fadb3a275ef0a739c00463481bfb5fa511be238f5b73/webp-v2-q82-m6-fixed-icc/2400.webp",
            "url": "https://d3lqz0a4bldqgf.cloudfront.net/museum/programs/6529NM-AP-01/6529NM-AP-01-OUT-016/6f2e18606cc3fc4c3af0fadb3a275ef0a739c00463481bfb5fa511be238f5b73/webp-v2-q82-m6-fixed-icc/2400.webp",
            "cache_control": "public, max-age=31536000, immutable"
          }
        ]
      }
    }
  ]
}

Keys and Gates - current publication-boundary correction

# Keys and Gates - current publication-boundary correction

**Record ID:** `6529NM-AP-01-PUBLICATION-AUTHORITY-2026-08-08-007`<br>
**Supersedes for the current publication boundary:** [amendment 005](publication-authority-amendment-2026-08-08-005.md)<br>
**Record type:** append-only derived publication-boundary amendment<br>
**Revision:** 1<br>
**Issued:** 8 August 2026<br>
**Constructor:** 6529 Network Museum, Curatorial Research and Registrar<br>
**Independent exact-commit review:** pending; reviewer identity and review time are not asserted

This append-only amendment corrects the current status wording without
rewriting the historical accessibility or publication-authority records. It
separates the construction of the written scholarship from the unresolved
controls for images.

The Museum-authored catalogue, curatorial essay, artist profiles, work text,
and source notes are complete as a written editorial edition and may be
published as text. That is a statement about the constructed scholarship and
its textual publication scope. It is not independent approval, a legal rights
grant, image-display approval, accessibility approval, sensitive-subject
authorization, acquisition, or accession.

Exact-commit independent review remains pending. The accessibility descriptions
remain `constructed_visual_description_pending_independent_review`; no
accessibility status is promoted. Image display, image-specific rights and
consent, sensitive-subject authorization, and image delivery remain pending.
Existing derivative paths and technical readbacks record bytes and delivery
infrastructure only; they do not approve delivery.

## Current boundary

| Area | Current status | Boundary |
|---|---|---|
| Written scholarship | Constructed and complete as text for this editorial edition | No independent exact-commit approval is asserted |
| Museum-authored catalogue text | May be published as text within the stated edition | This does not approve any image or third-party material |
| Accessibility descriptions | `constructed_visual_description_pending_independent_review` | Independent visual review is still required |
| Image display and delivery | Not approved by this current amendment | Technical derivatives remain lineage/evidence records only |
| Sensitive-subject authorization | Pending work-specific review | No private fact, consent instrument, or hidden authorization is inferred |

## Outcomes with no visual-display approval

The following outcomes have no visual-display approval in the current public
edition. Their text may remain in the written scholarship, but their visitor
page images are withheld pending the exact-commit review and the work-specific
questions below.

| Outcome | Reason the image is not approved for visual display or delivery |
|---|---|
| OUT-004 | The submission describes two distant figures as the artist's children and represents that consent documentation is available. No consent instrument is retained in the Museum record; the figures' ages and the privacy/consent scope remain unverified. The non-identifying 640 derivative does not resolve those authorization questions. |
| OUT-010 | The image shows a nude or near-nude torso with the head concealed. The public record does not establish the subject's identity, adult status, self-portrait status, or consent/publication scope, and no private instrument is retained. The Museum makes no assumption about any of those facts. |
| OUT-011 | The image shows a nude sitter holding a booklet or document. The artist represents that written consent documentation is available, but no consent instrument is retained; direct subject approval, document-legibility, venue permission, sensitive biography, and publication scope remain open. The 640 derivative's reduced legibility does not itself authorize display or delivery. |

These are evidence boundaries, not findings about undisclosed private facts. The
public record retains only the artist's representations, visible material, and
the unresolved review questions stated above.

## Delivery and lineage

The OUT-004 and OUT-011 technical amendments record exact derivative
invalidation/readback and retained fixity. The media join records the OUT-010
derivative inventory. Those records preserve derivation and lineage; they are
not image-display approval or delivery authorization. The three visitor Work
pages therefore retain the constructed descriptions and scholarship text while
withholding the image embeds.

The earlier [publication-authority candidate](publication-authority-amendment-2026-08-08-005.md)
remains part of the append-only history. Its `PROVISIONAL_EDITORIAL_DISPLAY_LIMITED`
rows are not independent approval and do not supersede this current
image-display hold.

## Revision history

- **1 - 8 August 2026:** Separated complete written scholarship from pending exact-commit review, kept accessibility pending, and recorded the no-visual-display and no-delivery boundary for OUT-004, OUT-010, and OUT-011.

Keys and Gates publication integration — current state

# Keys and Gates publication integration — current state

**Record ID:** `6529NM-AP-01-PUBLICATION-INTEGRATION-2026-08-08`<br>
**Scope:** current illustrated accession-publication candidate for Curated Acquisition `6529NM-CA-2026-002`<br>
**Record role:** public integration state; not a schema, release manifest, catalog, acquisition, accession, or rights decision

The typed projection is now present as a governed, review-pending candidate. It
keeps the source aliases, public routes, and independent lifecycle facts
separate. No entity is `published`, and no typed projection claims minting,
purchase, title, custody, accession, Collection membership, or display
authorization.

**Visitor state:** Selected through the Keys and Gates acquisition program;
acquisition pending. **Mint qualifier:** Not yet minted; minting route under consideration.

## Governed typed state

| Projection | Typed identity | Public source | Current status |
|---|---|---|---|
| Program | `6529NM-AP-ENT-0002` (source alias `6529NM-AP-01`) | [program record](../program.json) | `review_pending` |
| Curated Acquisition (CA) | `6529NM-CA-2026-002` | [Curated Acquisition](curated-acquisition.md) | `review_pending` |
| Artist | `6529NM-ART-0002`–`6529NM-ART-0016` (15 entities) | [artist profile example](artists/gulyildiz.md) and sibling `artists/*.md` pages | `review_pending` |
| Work | `6529NM-W-0008`–`6529NM-W-0023` (16 entities) | [Work page example](works/take-the-key.md) and sibling `works/*.md` pages | `review_pending` |
| Media | `6529NM-MED-0020`–`6529NM-MED-0035` (16 entities) | [media joins](media-joins.md) and [program media manifest](../media-manifest.json) | `review_pending` |
| Research Publication (RP) | `6529NM-RP-0002` (new) | [Access, Control, and Exit](curatorial-essay.md) | `review_pending` |

The Program governs the CA; the CA retains the sixteen selected outcome
aliases; each Work retains its OUT alias, Artist creator, `not_in_collection`
state, and typed Media reference; and RP `6529NM-RP-0002` interprets the CA
and discusses its Works and Artists. The new RP identity is recorded here as
review-pending integration state; its exact catalog pointer is not yet
available.

## Current public boundary

The Work pages combine captions, close looking, sources, and typed Media
references. All sixteen Works have Museum-hosted WebP presentation media under
[the current display authority](media-display-authorization-amendment-2026-08-11.md).
Fourteen use 640, 1280, and 2400 pixel derivatives; OUT-004 and OUT-011 use the
640 pixel derivative only. The images appear in program, acquisition, artist,
and Work contexts without download, IIIF, preservation-master, mint, title,
custody, accession, or Collection claims. All sixteen accessibility
descriptions are `constructed_visual_description_reviewed` under the
[independent review record](accessibility-review-2026-08-11.md).

The special image cautions remain explicit: OUT-004 has unverified
depicted-figure ages and consent/privacy scope; OUT-010 has unresolved identity,
adult-status, self-portrait, and consent/publication-scope questions; and
OUT-011 has unresolved direct subject approval, document legibility, venue
permission, sensitive biography, and publication scope. Historical technical
derivation remains in the append-only source record.

## Relations and activation gate

The public relationship set remains:

    Program 6529NM-AP-ENT-0002
      -> produces -> Curated Acquisition 6529NM-CA-2026-002
    Curated Acquisition 6529NM-CA-2026-002
      -> brings together -> Work 6529NM-W-0008 ... 6529NM-W-0023
    Work
      -> created by -> Artist
      -> has media -> Media
    Research Publication 6529NM-RP-0002
      -> interprets -> Curated Acquisition 6529NM-CA-2026-002
      -> discusses -> Work and Artist

Public activation remains pending a fresh exact-commit independent review and a
catalog pointer/readback that binds RP `6529NM-RP-0002`, the governed typed
records, the illustrated candidate, and the atomic visitor release. Until both
gates are complete, this record must not be treated as a published catalog
entry or activation receipt.

The [institutional record](institutional-record.md), [media joins](media-joins.md),
[rights and consent record](rights-and-consent.md), and [curatorial essay](curatorial-essay.md)
remain the supporting public record. Source aliases `OUT-001` through
`OUT-016` and the public page routes remain unchanged.

Keys and Gates — public scholarship corpus

# Keys and Gates — public scholarship corpus

This directory is the initial public-facing scholarship layer for the Keys and Gates program. It is deliberately isolated from the shared machine-readable record schemas and controlled vocabularies owned by WP-1.

## Publication status

Keys and Gates is a public photographic acquisition page linked to Curated Acquisition `6529NM-CA-2026-002` and Acquisition Program `6529NM-AP-01`. It presents sixteen photographs selected in 2026. Visitor state: **Selected through the Keys and Gates acquisition program; acquisition pending. Not yet minted; minting route under consideration.** The supporting institutional record retains the formal lifecycle evidence and registrar boundary.

The public catalogue is linked to Acquisition Program `6529NM-AP-01` and its program Wave. It does not replace or amend the canonical program and outcome records.

## Corpus map

- [Keys and Gates overview](curated-acquisition.md)
- [Research publication: *Access, Control, and Exit*](curatorial-essay.md)
- [Sixteen work treatments](works/)
- [Fifteen distinct artist profiles](artists/)
- [Verified and attributed project/site context](contexts/)
- [Source, bibliography, and chronology register](sources-and-bibliography.md)
- [Rights and consent boundary](rights-and-consent.md)
- [Media and accessibility record](media-joins.md)

## Work index

- [OUT-001 — *Take the Key!*](works/take-the-key.md)
- [OUT-002 — *the Artist in the Open Sea*](works/the-artist-in-teh-open-sea.md)
- [OUT-003 — *Managed Freedom*](works/managed-freedom.md)
- [OUT-004 — *No Key, Only Light*](works/no-key-only-light.md)
- [OUT-005 — *Residual Barrier*](works/residual-barrier.md)
- [OUT-006 — *The Hostile Gate*](works/the-hostile-gate.md)
- [OUT-007 — *the cost of open*](works/the-cost-of-open.md)
- [OUT-008 — *Dichotomy.*](works/dichotomy.md)
- [OUT-009 — *Now Is Our Time*](works/now-is-our-time.md)
- [OUT-010 — *Checkpoint*](works/checkpoint.md)
- [OUT-011 — *Sina Beizavi in Brazil*](works/sina-beizavi-in-brazil.md)
- [OUT-012 — *Rusted*](works/rusted.md)
- [OUT-013 — *Nowhere To Esc.*](works/nowhere-to-esc.md)
- [OUT-014 — *Morning Glory*](works/morning-glory.md)
- [OUT-015 — *Fight for Freedom*](works/fight-for-freedom.md)
- [OUT-016 — *No Access*](works/no-access.md)

## Artist index

[GulYildiz](artists/gulyildiz.md) · [HugoFaz](artists/hugofaz.md) · [nasimghanizadeh](artists/nasimghanizadeh.md) · [intrepid](artists/intrepid.md) · [ikertje](artists/ikertje.md) · [GIANT](artists/giant.md) · [priyanka](artists/priyanka.md) · [Rakesh](artists/rakesh.md) · [pandelic](artists/pandelic.md) · [Minalisa](artists/minalisa.md) · [Teyhu](artists/teyhu.md) · [arsonic](artists/arsonic.md) · [Zoku](artists/zoku.md) · [shamspranto](artists/shamspranto.md) · [Veerendra](artists/veerendra.md)

Registrar, schema, and integration records remain available through the research record and contextual links, but are not part of the default visitor navigation.

## Editorial method

Each work page separates:

1. what the governed visual description records from the historical presentation review;
2. what the artist supplied in the submission;
3. what public sources independently support; and
4. what remains unknown or requires registrar confirmation.

Artist intent is attributed to the artist's submission. Public biographical material is source-graded and kept minimal where identity or biography is unresolved. The pages avoid publishing private contact information, legal identity assumptions, sensitive location detail, document identifiers, or consent instruments.

## Media boundary

The program media manifest preserves source observations, deterministic transform metadata, and constructed visual descriptions. The [current image presentation authorization](media-display-authorization-amendment-2026-08-11.md), authority `6529NM-AP-01-MEDIA-DISPLAY-2026-08-11-009`, releases contextual Museum-hosted presentation surrogates for all sixteen selected works. The active set contains **44 responsive WebP derivatives**: fourteen works at 640, 1280, and 2400 pixels, and OUT-004 and OUT-011 at 640 pixels only. The authorization is for visual encounter in the Museum publication; it does not complete minting or acquisition, activate prospective CC0 terms, admit a work to the Collection, or permit downloads. The earlier [media-delivery withdrawal](media-delivery-withdrawal-amendment-2026-08-09.md) remains in the append-only history. The [OUT-002 title-display amendment](title-display-amendment-2026-08-18.md) corrects an obvious transposition in visitor-facing labels while preserving the submitted title in the archival outcome.

## Review state

This is an initial public edition for editorial, registrar, rights, and artist review. The final acquired quantity may be fewer than sixteen because availability, terms, rights, documentation, and program quantity remain open. Corrections must be append-only and must preserve the underlying selected-outcome evidence.

Keys and Gates — rights and consent boundary

# Keys and Gates — rights and consent boundary

This register records the selected submissions, the Museum's visual review, and the permissions still to be confirmed. The program terms call for CC0 and written consent for depicted people where applicable. An artist's statement of consent is evidence of that statement; it is not an executed Museum instrument. The [publication boundary](publication-authority-amendment-2026-08-08-007.md) permits the constructed scholarship to proceed as text. The [current media-delivery amendment](media-delivery-withdrawal-amendment-2026-08-09.md) withholds all sixteen images pending exact-commit review, accessibility review, and image-specific authority.

Creative Commons explains that a CC0 dedication addresses copyright while personality, privacy, publicity, and trademark rights may remain. The same separation applies to site permissions, graffiti, posters, passports, physical miniatures, and third-party materials. See the [CC0 and NFTs FAQ](https://creativecommons.org/cc-and-nfts/) and the [institutional record](institutional-record.md).

## Publication layers

| Layer | Current treatment |
|---|---|
| Public scholarship | Artist handle, source-graded public biography, selected-work metadata, artist-attributed caption, close looking, context links, current media join, and explicit unknowns. |
| Public presentation | All sixteen works have authority-bound Museum-hosted WebP presentation media. Fourteen works use 640, 1280, and 2400 pixel derivatives; OUT-004 and OUT-011 use 640 pixels only. Display is contextual and does not settle rights, consent, title, custody, acquisition, accession, or Collection membership. |
| Potential future registrar layer | If received, legal identity and authority documents, consent/model releases, sensitive locations, unredacted passport/document details, original high-resolution source, layered files, transaction/title/custody evidence, and preservation packages would be handled there. No such private instrument is retained in this Museum record. |
| Unresolved | Any use that requires a rights instrument, depicted-person consent, site permission, third-party clearance, or acquisition/accession evidence not currently retained. |

## Presentation authority boundary

The written scholarship and Museum-authored catalogue text may be published in the current edition. The sixteen works have contextual Museum-hosted presentation media under authority `6529NM-AP-01-MEDIA-DISPLAY-2026-08-11-009`: fourteen works at 640, 1280, and 2400 pixels, and OUT-004 and OUT-011 at 640 pixels only. These presentation copies are distinct from source originals and preservation masters; their display does not activate conditional CC0 language, grant reuse rights, or determine future on-chain rights. All sixteen visual descriptions passed the [independent accessibility review](accessibility-review-2026-08-11.md). OUT-004, OUT-010, and OUT-011 retain work-specific cautions and contextual limits. The program terms, source/display distinction, and transform controls are recorded in [`docs/programs/keys-and-gates.md`](../../../../docs/programs/keys-and-gates.md), [`docs/program-media-delivery.md`](../../../../docs/program-media-delivery.md), the [display authority](media-display-authorization-amendment-2026-08-11.md), and the [institutional record](institutional-record.md).

## Work-by-work matrix

| Outcome | Visible people / material | Submitted rights or consent assertion | Public risk and current boundary | Priority gate |
|---|---|---|---|---|
| OUT-001 | One figure seen from behind before a patterned gate; architectural/sacred-space setting | Conditional CC0; no consent representation located | Public visual description may avoid identity; figure consent and exact venue remain open | Confirm figure identity/consent, venue, authorship, and effective CC0. |
| OUT-002 | Performer in a white tub/boat amid traffic; composite/long exposure | Conditional CC0/full-rights statement; no separate performer release | Staging, public-safety, performer likeness, and composite-source permissions unresolved | Obtain performer consent, staging permissions, original workflow, and effective CC0. |
| OUT-003 | Rider on a rearing horse; herd, dogs, and possible other people | Conditional CC0; no consent representation | Rider and animal-owner/site permissions are unknown; do not infer identity | Confirm rider/model status, horse/site permission, and source/editing history. |
| OUT-004 | Two distant silhouetted figures in a fort passage; no identifying detail was visible in the historical 640px review copy | The submission describes the figures as the artist’s children and represents consent documentation is available; the program terms exclude identifiable minors | Contextual display is authorized under the current image authority. No consent instrument is retained; the figures’ ages and privacy/consent scope remain unverified. | Confirm the represented consent coverage, safe public wording, source privacy review, and high-resolution scope. No universal private-release doctrine is inferred. |
| OUT-005 | No person was visible in the historical review copy; graffiti and weathered wall | “CCO”/conditional declaration; no people-consent issue visible | Third-party graffiti, slogan, removed building, exact Berlin segment, and alteration rights open | Confirm exact site, visible-mark rights, Photoshop removal, and CC0. |
| OUT-006 | Artist’s own nude/partially nude self-portrait; tattoo, magnets, domestic objects | Conditional CC0; artist represents written self-consent | A self-portrait does not presume a separate third-party model release; nudity, body-image sensitivity, visible marks/objects, and publication scope remain review points | Confirm self-representation, self-consent/publication scope, content notice, object/mark rights, and source file. |
| OUT-007 | No identifiable person was visible in the historical review copy; landscape and possible distant visitors | Conditional CC0; no consent issue stated | Source-resolution visitors, access/permit conditions, and public-landscape rights remain open | Confirm source crop/visitors, capture permission, and effective CC0. |
| OUT-008 | No identifiable person was visible in the historical review copy; private homes and possible secure facility | Conditional CC0; no consent representation | Drone privacy, security, facility identification, and flight authorization are material | Confirm exact location, authorization, safe publication wording, and source metadata. |
| OUT-009 | No person was visible in the historical review copy; graffiti, slogan, industrial property | Conditional CC0; no people-consent representation | Anonymous/third-party graffiti and site-controlled imagery may carry separate rights | Confirm slogan/graffiti authorship or clearance, exact RAW structure, and CC0. |
| OUT-010 | Nude/near-nude torso with head hidden; subject identity and adult status unresolved | Artist states rights over the work and written consent for depicted persons; conditional CC0 | Contextual display is authorized under the current image authority. Identity, adult status, self-portrait status, and consent/publication scope remain unresolved; no private instrument is retained. | Confirm whether the image is self-portraiture; if not, confirm subject adult status and consent scope, then review the content notice, location boundary, source retention, and publication scope. |
| OUT-011 | Nude subject, sunglasses, sandals, and a small booklet/document in a Casa NUA room; the submission names the sitter | Artist represents written consent is available; conditional CC0 | Contextual 640px display is authorized under the current image authority. The presentation copy does not make document identifiers readable, but subject approval, venue permission, sensitive biography, and publication scope remain open; no consent instrument is retained. | Confirm direct subject approval, document-legibility at any approved size, larger/source treatment, and venue permission. Artwork display and biography/document republication remain separate decisions. |
| OUT-012 | Distant figure presented as self-portrait; damaged Iranian interior | Direct/conditional CC0; artist says consent documents exist | Self-portrait/likeness, site security, country-level location, and original workflow open | Confirm self-portrait instrument, exact site privately, safe publication, and source file. |
| OUT-013 | Small ant beside keyboard keys; no human visible | Conditional CC0; humorous “consent” statement about ant | Human consent not triggered on visible evidence; animal handling, keycap/brand rights, and compositing open | Confirm staging, animal welfare, keyboard provenance, and original/layered files. |
| OUT-014 | No people visible; San Roque spillway/infrastructure | Conditional CC0; no consent representation | Operator/site permission and exact mechanism/operation claim open; avoid sensitive access detail | Confirm location/viewpoint, site permission, engineering wording, and source. |
| OUT-015 | Two women in train windows; poster/collage elements | Artist represents that written consent exists; conditional CC0 | The public record names neither woman and withholds private relationship details; consent scope and poster/collage rights remain unresolved | Confirm consent scope for both visible people without assuming identity or relationship publication; verify poster/collage provenance, title/transliteration, and layered-source treatment. |
| OUT-016 | Miniature house/gate and a silhouette that may be a prop or person | Conditional CC0; no people-consent representation | Miniature ownership/material provenance, third-party elements, and silhouette status open | Confirm physical construction, all components, figure status, source stack, and CC0. |

## Current public-safe wording

The public corpus may say that the sixteen works were selected, that each has a source record and a deterministic presentation join, and that the artist supplied the statements and declarations recorded on each work page. It may describe visible people only as documented in the historical review observations, without adding names, ages, sensitive biography, or consent conclusions. It may link to public artist and institutional sources while grading them and preserving unresolved identity bridges.

The corpus should use “conditional CC0 declaration,” “artist represents,” “consent status requires review,” “location withheld,” or “source-level verification pending” where those are the evidence-backed facts. It should not use “cleared,” “licensed,” “released,” “public domain,” “Museum-owned,” or “rights-free” for a selected outcome without an executed instrument and registrar determination.

## Display-specific ethical basis

The written scholarship and Museum-authored catalogue text may be published within the current editorial scope. The current image authority permits contextual presentation of the Museum-hosted derivatives; it does not close the image-specific rights, consent, accessibility, or acquisition questions. OUT-004, OUT-010, and OUT-011 retain additional depicted-person, sensitive-subject, document, venue, privacy, and age questions in the public record. Historical derivation metadata remains source evidence and carries no inference of effective CC0, a model release, unrestricted reuse, or acquisition authority.

## Open rights questions

As downstream accession processing proceeds, the registrar should resolve the image-specific boundaries for OUT-004, OUT-010, OUT-011, and OUT-015; drone, site, graffiti, poster, miniature, and staged-scene permissions for the relevant works; and the exact CC0 instrument where the submission uses conditional or CCO wording. OUT-004 requires confirmation of the represented consent coverage and safe wording for the distant silhouettes; the historical presentation review did not establish that the figures are minors. OUT-010 requires a self-portrait or subject-authority determination. OUT-011 requires direct subject approval for the nude display, a document-legibility check at the approved size, and venue review; sensitive biography is omitted from this edition. OUT-015 requires consent-scope and poster/collage review for both visible people. These are concrete publication and acquisition questions, not a blanket release doctrine. Direct artist questions remain to be resolved; no consent or source instrument is retained in this public Museum record. If a future document is received, it would enter a restricted registrar layer and is not exposed in this public corpus.

WP-1 schema and vocabulary dependencies

# WP-1 schema and vocabulary dependencies

This WP-4 corpus is isolated content plus one narrowly scoped program-media control correction. It does not redefine WP-1 schemas, controlled vocabularies, record envelopes, or shared ontology files.

## Required integration dependencies

The content layer expects downstream integration to use the existing WP-1-owned definitions for:

- stable identifiers `6529NM-AP-01` and `6529NM-AP-01-OUT-###`;
- lifecycle state `selected_unminted` and the program status `selection_complete_acquisition_and_accession_unverified`;
- `ACCESSION_PROGRAM`, `PROGRAM_OUTCOME_INDEX`, and `PROGRAM_OUTCOME` schemas;
- the distinction among a Work, a documentation/presentation surrogate, a chain asset, a manifestation, an event/activity, an agent, a right/permission, evidence, a record, and a package;
- evidence grades, source-status semantics, observation times, fixity, and negative evidence;
- append-only corrections with `supersedes` rather than silent historical rewrites;
- Stream-compatible record envelopes, subject derivation, schema identifiers, hash algorithms, and CAIP-19-shaped on-chain citations;
- rights vocabulary and object-specific rights-effective status;
- program media-manifest joins and the source/presentation-surrogate/preservation-object boundary;
- the existing `schemas/program-media-manifest.schema.json` control, whose accessibility status vocabulary records the independently reviewed state `constructed_visual_description_reviewed`; and
- public/restricted record separation and public-safety scanning.

## Suggested future content relations

When WP-1 integrates the corpus, the projection can be related as:

```text
Curated Acquisition 6529NM-CA-2026-002
  produced by / governed through -> Acquisition Program 6529NM-AP-01
  has selected outcome -> 6529NM-AP-01-OUT-001 ... OUT-016
  has public scholarship -> this Markdown corpus
  has technical presentation -> existing PROGRAM_MEDIA_MANIFEST
```

The relation is descriptive only. It must not be serialized as an accession, Collection membership, custody event, title binding, mint, purchase, or rights grant until the relevant control-plane evidence exists.

## Deliberate non-changes

WP-4 does not:

- create a new schema profile or controlled term for “Curated Acquisition”;
- change the canonical selected-work title, status, source hash, or evidence files;
- normalize legal names from unverified public leads into authoritative identity records;
- convert the presentation derivatives into preservation masters or tokenized works;
- assert that the planned custody reference `networkmuseum.6529.eth` has received any asset;
- decide the future mint topology between a dedicated 6529Stream instance and a main-Stream subcollection.

The program-media status correction is not a WP-1 ontology change. It is an implementation dependency for the typed media manifest, accessibility JSON, generator, and tests; WP-1 integration should preserve the derived amendment and its one-to-one media joins.

Keys and Gates — sources, bibliography, and chronology

# Keys and Gates — sources, bibliography, and chronology

This register supports the public corpus. It distinguishes canonical Museum records, direct program submissions, artist-controlled pages, independent/public biographies, and institutional context sources. Web sources were reviewed on `2026-08-08` UTC unless a local record gives a different observation time.

## Source grades

- **A — canonical or submitted evidence:** Museum-retained program/outcome record, direct Wave submission, or artist statement supplied with the selected outcome.
- **B — institutional or independent corroboration:** official site, public institution, scholarly catalogue, or reputable independent profile.
- **C — artist/platform context:** artist website, 6529 profile, Linktree, or platform page useful for public context but not sufficient alone for legal authority.
- **D — identity lead:** weak, indirect, or ambiguous association kept for correspondence only.
- **U — unresolved:** a conflict, missing instrument, or unsupported claim requiring direct review.

## Canonical Museum sources

| Source | Use |
|---|---|
| [`program.json`](../program.json) | Program rules, status, Wave, price, planned custody reference, registrar gates, and non-claims. Grade A. |
| [selected-works.json](../selected-works.json) | Sixteen ranked outcomes, handles, titles, selection status, and submission identifiers. Grade A for the submitted record; visitor-facing titles follow the Museum’s recorded display amendments. |
| [`outcomes/OUT-001.json`](../outcomes/OUT-001.json) through [`OUT-016.json`](../outcomes/OUT-016.json) | Direct submission text, artist declarations, source fixity, media linkage, and per-work rights/consent assertions. Grade A for the submitted assertion; not an executed rights instrument. |
| [`media-manifest.json`](../media-manifest.json) | Source observations, source hash/dimensions, deterministic transform metadata, and the current zero-derivative delivery state. Grade A for the recorded technical observation; not preservation or rights evidence. |
| [Current media-delivery amendment](media-delivery-withdrawal-amendment-2026-08-09.md) | Current all-sixteen image withdrawal, exact prior candidate commitment, and restoration gate. Grade A for the repository state and technical control. |
| [`docs/programs/keys-and-gates.md`](../../../../docs/programs/keys-and-gates.md) | Public program summary and status boundary. Grade A for the repository’s public control note. |
| [`notes/research/keys-and-gates-evidence.md`](../../../../notes/research/keys-and-gates-evidence.md) | Source/fixity inventory, Wave response review, selected-outcome evidence, negative mint/custody findings, and registrar uncertainties. Grade A/C constructed research. |
| [`docs/program-media-delivery.md`](../../../../docs/program-media-delivery.md) | Web-presentation transform, source/surrogate distinction, accessibility status, and rights boundary. Grade A active technical profile. |
| [`docs/data-architecture/profile.json`](../../../../docs/data-architecture/profile.json) | Working ontology and relation context; not adopted governance. Grade A for current working standard. |

## Direct selected-outcome source register

Every link below opens the program Wave at the selected submission drop. The direct submission title field was empty in the retained API responses; titles below follow the first heading/artist text retained in each outcome record and remain subject to artist authority review.

| Outcome | Rank / serial | Artist | Title | Direct source | Submission-content SHA-256 |
|---|---:|---|---|---|---|
| OUT-001 | 1 / 1085874 | GulYildiz | *Take the Key!* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=c3283930-101e-4e3a-b921-57d81649ca81) | `sha256:9ea93ea62fd6bd805cd298169e78dbb6628f29f957ad6935bae209cab9582138` |
| OUT-002 | 2 / 1171592 | HugoFaz | *the Artist in the Open Sea* ([display amendment](title-display-amendment-2026-08-18.md)) | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=35efbf4c-2633-4b14-aa6a-82ea7660b6b9) | `sha256:1984e94dbe7417b071dcf35af0b359f6375e5b14a242817880aaef9093c304a3` |
| OUT-003 | 3 / 980507 | nasimghanizadeh | *Managed Freedom* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=b47b7d58-6276-45ba-b707-ec0f623e39e2) | `sha256:48d3c7657b0c3b51402580b788e536e378c45c17d8df1bb54cdabad2aaf57052` |
| OUT-004 | 4 / 1152154 | intrepid | *No Key, Only Light* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=57c49f95-7854-4a2a-ba2c-d448bc7827fc) | `sha256:4eb3da8002606b875c5e8be662244d09337be77eb00b6a570d7256712f06d054` |
| OUT-005 | 5 / 981298 | ikertje | *Residual Barrier* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=52631c54-fcce-46e7-b88c-5100de46734c) | `sha256:87ef3daea36e02e1c5517ea18d26cc17e83dfa0bc72cc42188c60972cf71de4a` |
| OUT-006 | 6 / 1157117 | GIANT | *The Hostile Gate* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=73ecf8fc-9bde-492d-a624-39d0dd547587) | `sha256:9c41a16040a3af990fcd4685ee7c6f735fb486201ed0d83bc9f94e7fbb86d693` |
| OUT-007 | 7 / 1147422 | priyanka | *the cost of open* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=f24313f0-b335-4c16-9052-3a689f82f188) | `sha256:2453e5abd616ecea4d290f39b7baaf51d1f531a817473263a9437d067c458b0c` |
| OUT-008 | 8 / 973173 | Rakesh | *Dichotomy.* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=aa257b16-4309-48b6-9033-1e3d7fb9016d) | `sha256:8c43b3ca228e34987ffc46b0b825058c49d227826173c8f9ef29fd4ad69f22b7` |
| OUT-009 | 9 / 1029013 | pandelic | *Now Is Our Time* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=a9e1af00-7ac7-4b7d-a39e-31c7a662ee28) | `sha256:7db473bf65d0bbd631312deeb4fb8831502b777f512378f32d227ea4ed839d08` |
| OUT-010 | 10 / 1066664 | Minalisa | *Checkpoint* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=d68542bc-f05e-4f23-ae8b-fac730cd4b7b) | `sha256:534912e35abb0530aa8d26d6b73575cbc9f2c29fd2a218762551b418c7041adb` |
| OUT-011 | 11 / 1167034 | HugoFaz | *Sina Beizavi in Brazil* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=52b6f536-3ebc-4bf5-b7da-2ed775df7ad3) | `sha256:091bdabc3d668c143272ba9e275671191a95d90e78b1e4929291405691b6be14` |
| OUT-012 | 12 / 1002997 | Teyhu | *Rusted* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=7d3a31f8-41bf-4fc5-8756-ed67eccdcc96) | `sha256:41125d71170e32dd2a0ab778710d3f89b4892eb54e32971c3c6796abe38c570c` |
| OUT-013 | 13 / 1004919 | arsonic | *Nowhere To Esc.* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=51982d19-395a-4eaa-866c-8e89aa952cbb) | `sha256:941dabeb63fbcac5279dd767469aa084c39d6241f174d19b472f074c655f433b` |
| OUT-014 | 14 / 991838 | Zoku | *Morning Glory* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=dc75fe32-f3c2-49db-9069-d9975b5964f3) | `sha256:011d39808b3920d8056c607a0ee7705f4fb05e181c1cda44e87bcb5ff284f719` |
| OUT-015 | 15 / 993675 | shamspranto | *মুক্তিযুদ্ধ - Fight for Freedom* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=8ac2b1b8-64f9-48ef-b41b-04ee3a9ba3ab) | `sha256:2200f9952e8cd55ce105129eade6d8c818b70b276df73cb57854f12a9a6488d0` |
| OUT-016 | 16 / 1058703 | Veerendra | *No Access* | [Wave drop](https://6529.io/waves/4ff022b3-aa17-4a0a-ba78-58f64ff1d427?drop=13407a59-3b86-4a04-b68e-87e818ed3766) | `sha256:957b974fa7427a53520007861edfdb84b8dd0fe3cf70100b56f11cfe6c701dfe` |

## Public artist sources

The canonical artist profiles in [`artists/`](artists/) retain only public, source-graded biographies. These links are context and authority leads, not automatic identity normalization.

| Artist | Public sources |
|---|---|
| GulYildiz / Gül Yıldız | [Fujifilm profile](https://www.fujifilm-x.com/en-gb/photographers/gul-yildiz/), [6529 profile](https://6529.io/GulYildiz), [LinkedIn](https://tr.linkedin.com/in/gulyildiz) |
| HugoFaz / Hugo Faz | [Artist site](https://hugofaz.art/), [LensCulture](https://www.lensculture.com/hugo-faz), [6529 profile](https://6529.io/HugoFaz) |
| nasimghanizadeh | [Linktree](https://linktr.ee/Nasim_Ghanizadeh), [Bluesky](https://bsky.app/profile/nasimghanizade.bsky.social), [Julien Sunyé essay](https://www.juliensunye.com/journal/after-the-gold-rush), [Bideodromo catalogue](https://www.bideodromo.com/2019/CATALOGObideodromo2019.pdf) |
| intrepid | [6529 profile](https://6529.io/intrepid) |
| ikertje | [Artist biography](https://ikertje.com/about-me), [Linktree](https://linktr.ee/IKERTJE) |
| GIANT / Artem Humilevskiy (submitted variant: Humilevskyi) | [artist site](https://humilevskiy.com/), [Global Peace Photo Award](https://globalpeacephotoaward.org/submissions/winners-2022/giant), [Galerie Sechs](https://www.galeriesechs.ch/artists-featured/artem-humilevskiy) |
| priyanka / Priyanka Patel | [Farcaster](https://farcaster.xyz/priyanka), [public interview](https://paragraph.com/%40toadyhawk/vip-6-priyanka) |
| Rakesh / Rakesh Pulapa | [artist biography](https://www.rakeshpulapa.com/about), [Condé Nast Traveller](https://www.cntraveller.in/story/photographers-behind-indias-most-stunning-drone-shots-share-their-hottest-tips/), [The Hans India](https://www.thehansindia.com/andhra-pradesh/rajahmundry-youth-becomes-vivo-judge-814114), [EatMy.News interview](https://www.eatmy.news/2020/09/patience-and-perfection-is-important-to.html) |
| pandelic / Eric Pan | [Artist site](https://ericpan.org/), [15 Questions](https://www.15questions.net/interview/eric-pan-about-improvisation/page-1/), [catalog profile](https://legacy.catalog.works/pandelic) |
| Minalisa / Mina Rahmani | [Farcaster](https://farcaster.xyz/minalisa1991) |
| Teyhu | [Linktree](https://linktr.ee/teyhu) |
| arsonic | [6529 profile](https://6529.io/arsonic/xtdh), [artist X profile](https://x.com/Ars0nic), [indirect Fingerprints DAO context: Guillaume (Zeblocks)](https://fingerprintsdao.medium.com/artist-interview-guillaume-zeblocks-6342a0f9b36b) |
| Zoku | [6529 profile](https://6529.io/zoku), [The Line profile](https://www.theline.wtf/listing/zoku/) |
| shamspranto | [6529 profile](https://6529.io/shamspranto), [121Clicks](https://121clicks.com/photo-stories/shams-pranto-bangladesh-photography/) |
| Veerendra | [6529 collected profile](https://6529.io/veerendra/collected), [The Talented Indian](https://www.thetalentedindian.com/tag/veerendra-jillella/), [Chaibisket](https://www.chaibisket.com/blogs/blog/best-photographers-telugu-states) |

## Site and historical context bibliography

- [Fort Frederick, Grenada Tourism Authority](https://www.puregrenada.com/fort-frederick/) and [UNESCO tentative-list context](https://whc.unesco.org/en/tentativelists/1926/) — OUT-004.
- [Berlin Wall Memorial](https://www.berlin.de/en/museums/3109351-3104050-gedenkstaette-berliner-mauer.en.html) and [German Federal Archives](https://www.bundesarchiv.de/themen-entdecken/online-entdecken/dokumente-zur-zeitgeschichte/bau-der-berliner-mauer/) — OUT-005.
- [Parks Canada, Visiting Lake Louise and Moraine Lake](https://parks.canada.ca/pn-np/ab/banff/visit/parkbus/louise), accessed 8 August 2026 — current road-closure and shuttle-reservation policy for OUT-007; the artist’s 2024 capture conditions remain attributed.
- [RAW-Gelände official history](https://raw-gelaende.de/en/historie/) and [English site history](https://raw-gelaende.de/en/about-r-a-w/) — OUT-009.
- [Casa NUA](https://nua.casa/) and [Domínio Público](https://dominiopublico.nua.casa/) — OUT-011.
- [Liberation War Museum history](https://www.liberationwarmuseumbd.org/page/history) and [Bangladesh Army history](https://www.army.mil.bd/history) — OUT-015.
- [INA hypolimnion water-quality study](https://www.ina.gov.ar/archivos/publicaciones/Cirsa_Limno_Hypolimnion_Water_Quality_2004.pdf) — the narrow 1944 dam-phase lead used in the [context register](contexts/index.md#san-roque-dam-claim-out-014); [Argentine government dam inventory](https://www.argentina.gob.ar/sites/default/files/libropresas_3_compress_3_3-101-219.pdf), [INA/UNC study](https://www.ina.gov.ar/archivos/publicaciones/Cirsa-Limnologia-7-problem.pdf), and [APRHI operations note](https://www.aprhi.gob.ar/lluvias-en-cordoba-los-diques-se-acercan-a-su-nivel-maximo-y-aseguran-agua-para-todo-el-ano/) supply broader site and operations context for OUT-014.
- [Creative Commons CC0 and NFTs FAQ](https://creativecommons.org/cc-and-nfts/) — copyright dedication versus personality, privacy, publicity, and trademark rights.
- [Nikon focus-shift guidance](https://www.nikonusa.com/learn-and-explore/c/tips-and-techniques/focus-shift-the-basics-stacking-focus) and [Adobe depth-of-field compositing](https://helpx.adobe.com/photoshop/desktop/create-masks/blend-images/create-a-composite-with-extended-depth-of-field.html) — OUT-016 technique context.

## External link audit

On 8 August 2026, stale external citations were removed from this public edition after endpoint checks returned error or DNS failures. No archive snapshot is asserted for those omissions. The retained bibliography above is the current source set; unresolved biography and context are stated as gaps rather than padded with low-authority mirrors.

| Audit disposition | Source treatment |
|---|---|
| Hive, PinchukArtCentre, Spilne Art, Berlin Q&A, and Get Bengal endpoints | Omitted after the recorded error responses; no replacement claim or archive snapshot is asserted. |
| Legacy Parks Canada access endpoint | Removed from the work bibliography and replaced by the current official [visitor-guidance page](https://parks.canada.ca/pn-np/ab/banff/visit/parkbus/louise), accessed 8 August 2026. |
| Shape of Pepe / Priyanka site | Omitted after DNS failure; the artist note remains evidence-proportionate to the Farcaster and interview sources. |
| Twstalker and mobile.twstalker mirrors | Omitted from Teyhu and Minalisa citations; first-party/platform sources and the signed submissions remain the public basis. |

## Chronology

| Date | Event | Evidence/status |
|---|---|---|
| 1779–1783 | Fort Frederick construction sequence | Institutional site history; context for OUT-004. |
| 13 Aug 1961 / 1990 | Berlin Wall construction and later mural/afterlife contexts | Berlin public sources; context for OUT-005, not exact site identification. |
| 16 Dec 1971 | Bangladesh independence at the end of the Liberation War | Liberation War Museum; historical context for OUT-015. |
| 1867–2015 | RAW-Gelände railway origin, shutdown, cultural use, and later ownership transition | RAW official history; context for OUT-009. |
| 1944 | San Roque dam phase cited in public technical records | Narrow context for OUT-014; operational claim remains under review. |
| 2011 | Artist-submitted date for OUT-005 and OUT-009 | Submission claims; exact site/provenance review remains open. |
| 2017 | Artist-submitted date for OUT-008 | Submission claim; drone permissions and facility identity unresolved. |
| 2020 | Artist-submitted dates for OUT-006 and OUT-015 | Submission claims; OUT-004 conflicts between 2020 and 2021. |
| 2023 | Artist-submitted date for OUT-003 | Submission claim; exact Kayseri site unresolved. |
| 2024 | Artist-submitted date for OUT-007 | Submission claim; Moraine Lake policy context independently supported. |
| 16 Apr 2020 | Artist-submitted creation date for OUT-006 | Submission claim; project context corroborated publicly. |
| 5 Jul 2026 | Artist-submitted date for OUT-011 | Submission claim; subject/venue permissions unresolved. |
| 18 May 2026 | Artist-submitted date for OUT-013 | Submission claim; workflow and staging unresolved. |
| 12 May 2026 | Artist-submitted date for OUT-014 | Submission claim; exact viewpoint/operation unresolved. |
| 1 Aug 2026 | Retained program/outcome observation | Sixteen selected outcomes, all `selected_unminted`; no acquisition/accession evidence. |
| 8 Aug 2026 | WP-4 public research and image review | This corpus build; sources, biographies, captions, media joins, rights gaps, and correspondence register added as Markdown content. |

## Source gaps requiring artist or registrar action

The major gaps are exact site/date/metadata confirmation; artist authority and preferred credit; executed CC0 instruments; depicted-person, minor, nude, passport, and sensitive-biography consents; graffiti/poster/site/miniature third-party rights; source-file and layered-work retention; and any future mint, purchase, title, custody, preservation, or accession evidence. The registrar work queue turns these gaps into questions without publishing private contact details.

Title display amendment: the Artist in the Open Sea

Title display amendment: *the Artist in the Open Sea*

# Title display amendment: *the Artist in the Open Sea*

**Authority:** 6529NM-AP-01-TITLE-DISPLAY-2026-08-18-001  
**Effective:** 18 August 2026  
**Work:** 6529NM-W-0009 / OUT-002  
**Supersedes:** the prior public-display treatment that reproduced the submitted transposition in the Work title and media credit

## Decision

The Museum will display the title as *the Artist in the Open Sea* in visitor-facing pages, labels, captions, and media credits. This is an editorial display correction of the obvious transposition “teh.”

The signed Wave submission and PROGRAM_OUTCOME remain unchanged and retain *the Artist in teh Open Sea* as submitted. The amendment does not claim that the artist has issued a revised title. It keeps the archival source and the Museum’s public display treatment distinct.

## Record effect

- PUBLIC_ENTITY 6529NM-W-0009 uses *the Artist in the Open Sea* as its preferred public label and profile title.
- MEDIA_REFERENCE 6529NM-MED-0021 uses the corrected title in its public credit and preferred label.
- The exact submitted title remains in 6529NM-AP-01-OUT-002, its verbatim artist statement, and the Wave evidence.
- Work identity, selection status, mint status, acquisition status, accession status, Collection membership, rights, and media bytes do not change.

This amendment supplies the authority for the corrected visitor-facing title while preserving the historical record.

Checkpoint

Content note: Nudity and partial concealment. The subject’s identity and location are unspecified; the public record gives no age determination.

Image presentation: Contextual Museum display is authorized under the current display authority. Reuse is not granted by that presentation.

Visual description: A bare torso emerges from folds of black fabric against a nearly black background.

Object data

Caption

A bare torso appears through black fabric; the concealed head keeps the person’s identity outside the frame.

Close looking

Artist’s account

Curatorial interpretation

Context

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: OUT-010 is authorized for contextual Museum display. The submission includes a conditional CC0 declaration and represents that written documentation can be supplied, but the public evidence does not establish subject identity, adult status, self-portrait status, or publication-consent scope; no consent instrument is retained in the Museum record. The Museum makes none of those claims, provides no reuse grant, and keeps the image within the selected-work context. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: The Hostile Gate · Next: Sina Beizavi in Brazil

Dichotomy.

Object data

Caption

From above, a hard line separates dense residential roofs from a geometric field of palms.

Close looking

Artist’s account

Curatorial interpretation

Context

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission includes a CC0 declaration. Facility identity, aerial authorization, source metadata, and final rights scope remain unverified. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: the cost of open · Next: Residual Barrier

মুক্তিযুদ্ধ - Fight for Freedom

Object data

Caption

Two women appear at separate teal train windows: one looks outward, while the other shields part of her face with an orange head covering.

Close looking

Artist’s account

Curatorial interpretation

Context

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The written scholarship is within the current text-publication scope; exact-commit review, image display, accessibility, and image-specific consent remain pending under the current publication boundary. The submission contains a CC0 declaration and represents written consent for depicted people; consent scope, poster provenance, title spelling confirmation, and image-delivery scope remain to be verified. No consent instrument is retained in the Museum record. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Morning Glory · Next: The Hostile Gate

Managed Freedom

Object data

Caption

A rider lifts with a rearing white horse above a crowded herd moving across an open mountain plain.

Close looking

Artist’s account

Curatorial interpretation

Context

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission includes a CC0 declaration. Rider/depicted-person permissions, exact site and date, source metadata, and final rights wording remain to be confirmed. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: the Artist in the Open Sea · Next: the cost of open

Morning Glory

Object data

Caption

Water fans through a dark, fluted form while a small opening of sky remains above its curving walls.

Close looking

Artist’s account

Curatorial interpretation

Context

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission states that the work will be released under CC0 if selected. Site permission, technical description, source RAW, and final rights wording remain to be confirmed. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Now Is Our Time · Next: মুক্তিযুদ্ধ - Fight for Freedom

No Access

Object data

Caption

A small white house glows on a hill beneath stars, separated from the viewer by a lit gate, a warning sign, and a person-like silhouette.

Close looking

Artist’s account

Curatorial interpretation

Context

The submission-led record supports the miniature and focus-stacking process. A fuller public biography, the gate-side figure’s status, and the source sequence remain unverified.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission includes a CC0 declaration. Miniature materials, figure status, source sequence, preferred public name, and final rights scope remain to be confirmed. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Rusted · Next: the Artist in the Open Sea

No Key, Only Light

Content note: Two distant silhouetted figures appear in the historical 640px review copy. The program terms exclude identifiable minors; no identifying detail was visible in that copy, and the figures’ ages remain unestablished.

Image presentation: A 640-pixel contextual presentation copy is authorized under the current display authority. No identifying detail is visible; reuse is not granted.

Visual description: Two silhouetted figures walk toward daylight at the end of a rough stone passage.

Object data

Caption

Two figures stand inside a rough stone passage and face a blown-out opening of daylight.

Close looking

Artist’s account

Curatorial interpretation

Context

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: OUT-004 is authorized for 640-pixel contextual Museum display. The artist represents consent documentation is available on request, but no instrument is retained in the Museum record; the figures’ ages and privacy/consent scope remain unverified. The Museum leaves them unidentified, publishes no larger derivative, and grants no reuse right. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Take the Key! · Next: Rusted

Now Is Our Time

Object data

Caption

Industrial ruins, barred openings, lamps, and layered graffiti frame the declaration “NOW IS OUR TIME.”

Close looking

Artist’s account

Curatorial interpretation

Context

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The artist’s CC0 declaration is present; visible-mark authorship, site permission, exact building, original file, and publication scope remain to be confirmed. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Residual Barrier · Next: Morning Glory

Nowhere To Esc.

Object data

Caption

Black keyboard keys spell “NO / WHERE / TO,” while an Esc key sits apart beside a small ant.

Close looking

Artist’s account

Curatorial interpretation

Context

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission includes a CC0 declaration and an animal-welfare statement. Original file, staged-material provenance, and publication scope remain to be confirmed. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Sina Beizavi in Brazil

Residual Barrier

Object data

Caption

A weathered wall carries graffiti across a rough concrete surface; its old force survives as material and memory.

Close looking

Artist’s account

Curatorial interpretation

Context

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission contains a CC0/CCO declaration, but the required license wording, visible-mark permissions, edit history, and source publication scope remain unverified. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Dichotomy. · Next: Now Is Our Time

Rusted

Object data

Caption

A distant figure with keys stands inside a sequence of damaged rooms and arches.

Close looking

Artist’s account

Curatorial interpretation

Context

The submission gives Iran as the location but leaves the building unidentified. The public profile remains handle-based; the architecture supplies no basis for a political history or safe location.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission states that the work is released under CC0 and identifies it as a self-portrait; exact site, likeness status, safe geography, and final rights wording remain to be confirmed. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: No Key, Only Light · Next: No Access

Sina Beizavi in Brazil

Content note: Full-frontal nudity and a pictured travel document. In the historical 640px presentation review, the document appeared at a distance and personal identifiers were not readable; none are transcribed here.

Image presentation: A 640-pixel contextual presentation copy is authorized under the current display authority. The pictured document is not legible; reuse is not granted.

Visual description: A nude figure reclines on an ornate gold chair, wearing bright sandals, with one hand lowering a small dark booklet or document toward the floor; no text is readable on it.

Public-size note: The active media record admits only the 640-pixel presentation derivative. Source originals and high-resolution preservation masters are not public.

Object data

Caption

A nude figure reclines on an ornate gold chair, wearing bright sandals and holding a dark booklet or document toward the camera.

Close looking

Artist’s account

Curatorial interpretation

Context

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: OUT-011 is authorized for 640-pixel contextual Museum display. The artist represents written consent documentation is available on request, but no consent instrument is retained in the Museum record; the public evidence does not independently establish direct subject approval, venue permission, or the scope of publication consent. The Museum publishes no document transcription or sensitive biography, makes no additional identity claim, and grants no reuse right. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Checkpoint · Next: Nowhere To Esc.

Take the Key!

Object data

Caption

A solitary figure faces a blue patterned screen inside a stone hall as sunlight breaks across the floor.

Close looking

Artist’s account

Curatorial interpretation

Context

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission includes a conditional CC0 declaration. Exact venue, figure consent, source file, and final rights scope remain to be confirmed. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Next: No Key, Only Light

the Artist in the Open Sea

Object data

Caption

A person in a small white tub or boat remains sharply legible amid long-exposure streaks of buses and traffic moving through a lit urban corridor.

Close looking

Artist’s account

Curatorial interpretation

Context

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission contains a conditional CC0/full-rights assertion. Performer consent, staging permission, original composite layers, and high-resolution publication scope require review. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: No Access · Next: Managed Freedom

the cost of open

Object data

Caption

Moraine Lake opens into turquoise water, dark forest, and the snow-dusted Valley of the Ten Peaks.

Close looking

Artist’s account

Curatorial interpretation

Context

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The submission includes a CC0 declaration. Source-resolution, capture conditions, and final rights wording remain to be confirmed. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Managed Freedom · Next: Dichotomy.

The Hostile Gate

Content note: Shirtless self-portrait and body-image themes.

Object data

Caption

A shirtless figure opens a magnet-covered refrigerator; the domestic door becomes a threshold between appetite and restraint.

Close looking

Artist’s account

Curatorial interpretation

Context

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The artist’s CC0 declaration and self-consent statement are present in the submission; the required license wording, supporting documentation, and publication scope remain unverified. See the rights and source record and institutional record.

Browse

Curated Acquisition · Research Publication · Artist profile · Previous: Fight for Freedom · Next: Checkpoint

Keys and Gates — photographs of access, control, and exit

6529 Network Museum Accession Program 01

Program ID: 6529NM-AP-01

Program Wave: Keys and Gates

Description drop: serial 972000

The program

What the selection means

Selected photographs

01 — Take the Key! — GulYildiz

Outcome record · Wave submission

02 — the Artist in the Open Sea — HugoFaz

Outcome record · Wave submission

03 — Managed Freedom — nasimghanizadeh

Outcome record · Wave submission

04 — No Key, Only Light — intrepid

Outcome record · Wave submission

05 — Residual Barrier — ikertje

Outcome record · Wave submission

06 — The Hostile Gate — GIANT

Outcome record · Wave submission

07 — the cost of open — priyanka

Outcome record · Wave submission

08 — Dichotomy. — Rakesh

Outcome record · Wave submission

09 — Now Is Our Time — pandelic

Outcome record · Wave submission

10 — Checkpoint — Minalisa

Outcome record · Wave submission

11 — Sina Beizavi in Brazil — HugoFaz

Outcome record · Wave submission

12 — Rusted — Teyhu

Outcome record · Wave submission

13 — Nowhere To Esc. — arsonic

Outcome record · Wave submission

14 — Morning Glory — Zoku

Outcome record · Wave submission

15 — মুক্তিযুদ্ধ - Fight for Freedom — shamspranto

Outcome record · Wave submission

16 — No Access — Veerendra

Outcome record · Wave submission

Before a work can enter the collection

Records and source limits

Program record — rules, curatorial frame, selection evidence, acquisition terms, and registrar gates.
Selected-work index — sixteen outcomes retained as selected_unminted.
Individual outcome records — verbatim artist submissions, source media URLs, selection evidence, rights and consent representations, fixity, and unresolved fields.
Research evidence inventory — source observations, Wave configuration, direct-drop evidence, and status boundaries.