Whether or not we find Tony Greene’s work of interest, we first know that other artists like it, Opie Hawkins Bamber Majoli, as presented Whibi+MAK. What is interesting is that it took the injection of 4 artist’s socio-credibillity to get his post-humous career turning over. A benign-nepotism proving, further than Codax or any social-interventionist project, that it really is circles and names and symbolic capital that makes things visible, suddenly appearing before us on both coasts, memorabilia of a scene in time. How could we ever know if we like it, or instead spread as the word, like the doctrinal histories projected 12 feet high in dark classrooms, things made to matter through visibility’s influence, and then you know, and then you are common.