ITEMS LOCATED: Paper, sand, soil, stone, wood, plastic, glass, steel, coffee, acrylic and gold REMARKS: Another American obsession, another distraction, another perverse entertainment, "Decaf Mochachino" found at Level 3. God forgive us for what we have done to each other. They used to say He is the way. Which way to the Way? God left this place a long time ago. Anybody else?" -Hey zombie why are you so doom and gloomy? -You think I am the devil but only because I lived in hell. I want out. This place is about to explode. Now that I'm Fat, balding and older things are different, I want to spend my time with someone nice. My bodily dysfunctions? Anybody for? Going once? For? And garbage? The great romantic depot for the greatest romantic despot" What makes him sad is what makes him want. We're all characters of a grand plot who struggle under strongly opposing desires. We seek a new beginning, a renewal. I am preparing myself for the coming take over and I am rearing up on my... Bing Bling Bang Bling Big Bing Bang Bing (decoy)

ITEMS LOCATED: Paper, sand, soil, stone, plastic, glass, photograph, wood and gold REMARKS: This first discovery was found like much of the others in and under Chatham Square. It was dug out at 4 feet, which for our sake will be Level 2 as opposed to Level 1 which deals with ground level, and Level 3 which deals with digs from 5 to 10 feet deep and ultimately, Level 4 which spans below 10 feet and up to 15 feet underground. This first "leftover" as we like to call them is named "Hare Jordan", and so for the obvious lack, although strong suggestion of the presence of a hare. It deals with air, with reaching for air, for life…and if for life then deals with a lot more. What ever happened to science fiction? Just add a few what ifs and it all becomes way to real, and then you find yourself as if frozen in time and space, as in a Pompei like setup with a lava like substance where all freezes in that last action, that last gasp and all gets rooted, part of the roots. What happened was clearly established, we were waiting for a finisher, a messiah, it had all been foretold, but it all came too fast. Open your veins it's quicker, and with your blood you renew the world from age to age. The hare did run faster. He probably had to, to be up for his sucky job at 6 am.

ITEMS LOCATED: Sand, stone, steel, wood, marbles, plastic, paper, acrylic and gold REMARKS: The second was dug out a little deeper than the last at about 6feet under or at Level 3, still around what would be Chatham Square. It is named "Hello Kitty" for the undeniable presence of many waving cats. For the Chinese and the followers of their fate and/or superstition these cats stand as lucky charms, as protectors and guarantors of a wish, probably that of financial security, as they are most often than not found at the entrance of businesses and more particularly very close to cash registers. There is no business like the one of money and luck. It follows the laws of supply and demand, but there are always more customers than actual products. What is it really? A substance of value? A value of substance? For all that died for the sake of gold, in all its shapes, for all the ones who survived, money always comes with a price. What the worth? What's the worth of an individual? There is no business. There is income. What do you do for a living?

ITEMS LOCATED: Paper, sand, soil, stone, plastic, electronic circuit and gold REMARKS: This leftover is dedicated to "Lily", more women, more modern, more sacrifice and eventually more redemption. Because life had decided, had developed in a way where we could be together and it felt like we should. Muse or Excuse. Beautiful in any country, she had walked up to me and said "Somehow, you don't strike me as the innocent type, you'd think I hadn't met people like you before. I smell you, killing is a way of life". As if. I had never even addressed her. Let's get "tabloid", with the face of an angel, the body of a seductress, the eyes of the devil we can be sure that she'll be around for years to come. O. She had posed nude for a tasteful Marilyn Monroe like spread. She even got to participate in steamy hot sex scene with the secret agent. Neither dress, nor manners fooled her in the least. She got married, divorced and then dated a tobacco executive. That's when she became eager to show off her softer more mature look. And although you may not recognize her name, she had one of those faces that is almost impossible to forget. At any rate a profound impression. Accordingly the reader assumes full responsibility for the use of the materials contained herein. Why? Why not? Just another unguided forum. Blinders. It's sadness first and then offered relief. How does it feel? We're not children anymore. The Brat is dead. People should get a permit to have children. One day all children realize that all parents are weak, that they should just pull the trigger. When all they should have said was we won't let any other go, we don't want to lose you just yet, maybe I just give a fuck. Do you really only grow up the day you kill someone?

ITEMS LOCATED: Aluminum, wood, salt, fake pearls, sand, thermometer, steel, photograph and gold REMARKS: This next chance creation is named Pearl River, found at Level 4. It somehow retained its innocence, like a souvenir. I like pale hues. It's very feminine. It says I am here for lack of a better idea; too elusive to be a movement but a moment, definitely. A moment can give meaning to a life, to a lie. We see her take back the ownership of her body image, hard work, determination and a killer body. You can only sabotage your feminist ethics for so long. Well, Hello officer, how can I help you today? You're looking for genuine love. Sorry no I haven't seen any lately. But do come back at some other time, you might get lucky. When the world as you know it is over and you happened to be one of the sole survivors isn't it so nice to talk shit about somebody else…

ITEMS LOCATED: Paper, sand, soil, plastic, glass, aluminum, photographs, goggles and gold "Right on Target" found at Level 2 under a shopping center on Division Street is proof that American history continues. Just like an old reliable obsession, America plans to extend her brood. Her self-proclaimed disdain for monogamy makes her an interesting little catch, a life long virus, physically debilitating, chemically altering. She's running in and out of hospitals treating exhaustion and appendicitis. REAL estate opportunities. The goddess of the scaffold shows no mercy. We save the government and that's how they show their gratitude. There are no slaves and masters here. It's cut throat. No hands. No vote. Let's go far right. Who's gonna cast the first stone?

ITEMS LOCATED: Paper, sand, soil, plastic, glass, aluminum, sea shell, electronic circuit, wood and gold on birch wood REMARKS: "Successful Hunt" was found at Level 1 near Wall Street. At the cultural level there is only one such feat, and it's an idea not an object. It reminds me of the elusive nature of words, wording and calling Words like rude, bitch, anger with angel wings or worse for better or for worse. For better or for words. I should have known better. (Laugh) Humor is the universal language. It lies in style.

New Yorker Agathe Snow’s approach to art is more a way of life than a studio practice, informed by personal circumstance, travel, current events, counter-culture, and a drive to engage with and stamp her imprint on the world at large. Often using objects she’s found on the street her sculptures reconfigure the detritus of everyday life as deliriously apocalyptic monuments of societal breakdown. In Three (Cross With Balloons), Snow’s crucified effigy towers with effete comic horror. Mounted in mud, wrapped in cling film, and bound with a noose, her suburban victim is adorned, adulated and ridiculed with party hat and balloons, a pair of Converse All- Stars dangling from its death rood like a public notice of crime committed.

Snow explains this series of work as being about “cartooning archetypes of power that I hated, with Mother Nature on my side”. Drawing together a wide variety of reference points – from consumer culture to Renaissance painting – Snow’s Four (Center Cross) humorously poses as a contemporary St. Sebastian, a stick-riddled martyr of modern decadence. Nailed to a graffitied crucifix, conveying a medieval jubilee at the display of enemy corpses, Four (Center Cross) is a triumph of loathing and decay, its battered shopping bag and McDonald’s flag denoting a member of the foe camp.

Within Snow’s work is the intrinsic value of creative methodology and material negotiation, the infusion of her idiosyncratic interpretation and belief into the structures she assembles. The making of Snow’s sculptures is an intensely physical process, and for this series of work she created each piece in the gallery where it was originally exhibited, inhabiting the space for the duration of the show. This performative dimension of her work is evidenced in the finished pieces, such as Five (Cross On The Left With Spider Web), which expose her modes of assemblage, spontaneous decision making, and playful innovation, transforming simple objects such as used clothing and twigs into totems of artistic creation and fictionalised degeneracy.