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Freddy's low overhead model geared toward the internet and openings returns freedom from certain stakes and pressures making for all sorts of decisions at odds with normalized gallery modes socially reproduced - exhibitions in barns and second tier cities and artists lacking any semblance of social capital (becoming its social capital), unknowns, the tragically unhip amidst the tragic hip and the elderly, which is to say wonky curation separate from the usual sense - order from a different logic - and but still function well - which is what we find so endearing about the outsiders and self-taught artist themselves, including the odd infatuation with color, and - while Freddy is no outsider and - and while the playbook drawn from isn't totally new (like really at all) it's the fact that it's still drawn from by an insider that makes it important to its outsidery quality, otherwise I'm not sure we'd see it.
