Bowie at Texas Tech and Death of Academic Freedom, 2026

In December 2025 and April 2026, Texas Tech University System Chancellor Brandon Creighton issued two memoranda requiring faculty to disclose, and the Board of Regents to approve, course content touching on race, sex, sexual orientation, or gender identity before it could be taught; the second extended the same review to graduate research. During a university staff meeting about implementation of the restrictions, examples reportedly discussed as affected by the policy included Elsa from Frozen, Romeo and Juliet, Moby-Dick, and David Bowie.

On May 2, 2026, I created Bowie at Texas Tech: a site-specific video installation with sound, projecting David Bowie’s “Life on Mars?” onto the university’s red granite seal after dark. The work followed a staff meeting in which Bowie was identified among examples affected by the new restrictions, and addressed what those restrictions meant for the visibility of LGBTQ people, histories, and cultural figures on campus.

The two works function as a paired response. If the Bowie projection is an elegiac image — a cultural figure kept visible after dark — then wrapping the university’s Rider statue in black crepe transformed an institutional symbol into an object of mourning. Together, the interventions treated censorship not only as something to resist, but as something to mourn.

Four days later, on May 6, 2026, I created Death of Academic Freedom: a site-specific installation built from found objects and assemblage sculpture. Its subject was the Texas Tech Rider — the campus’s Will Rogers and Soapsuds statue — traditionally wrapped in red crepe paper before home football games. I wrapped it instead in black, a color the university has used only rarely, reserved for occasions of mourning and institutional significance, extending the same response to the university’s escalating restrictions on what its faculty can teach and, from that fall on, what its students could research and produce.

Unlike MOM air, We’re Sorry, and Wendy’s Iceland Inc, which spread through sustained press cycles, these two works moved first through Instagram and TikTok, amplified by allied accounts including Raiders Against Censorship. Across both platforms, they drew close to 600,000 combined views, reached over 270,000 accounts on Instagram alone, and generated more than 42,000 likes and roughly 4,700 shares within days — an organic, high-velocity reach that marks a further experiment in the systems through which the work circulates.

On July 8, 2026, the American Association of University Professors and Texas AAUP-AFT, represented by Lambda Legal, the NAACP Legal Defense and Educational Fund, and Davis Wright Tremaine, filed a federal lawsuit challenging the memoranda. The complaint alleges unconstitutional viewpoint discrimination and argues that the policies disproportionately affect Black and LGBTQ faculty, students, and scholarship.

Gallery

Select Press

Inside Higher Ed

While the Texas Tech Board Met, Students Attended a Funeral

 

PEN America

Texas Tech Students Hold ‘Funeral’ for Academic Freedom

 

Lambda Legal

Legal Advocates Sue Texas Tech University System Over Censorship Policies Targeting Course Content on Race, Sexual Orientation, and Gender Identity

 

Bergen Kunsthall Project, 2025

For my MFA graduation exhibition at Bergen Kunsthall in April 2025, I set out to paint a mural, accompanied by a digital presence, continuing the approach I had developed in We’re Sorry — intended to spark conversation around a pressing societal issue. As with that project, the nature of the work required that I keep its content confidential ahead of the opening.

The University of Bergen’s Faculty of Fine Art, Music and Design responded by demanding I disclose the mural’s content in advance, citing concerns about potential illegality. This was the same University of Bergen that, only months earlier, had written a letter of support for my freedom of expression amid the litigation surrounding We’re Sorry — the institution had already engaged with my practice and backed it in writing. When I did not provide the disclosure, the university voted, on February 24, 2025, to remove me from the graduation exhibition: a preemptive act of censorship that directly contradicted its own prior support.

I used grant funding to retain legal counsel and fight my way back into a show I was already part of. On April 3, 2025, the University of Bergen issued a formal apology and reversed its decision.

Somewhere in that fight, the censorship stopped being an obstacle to the work and became the work itself. In place of the mural, I installed a large-scale black-and-white QR code on the south wall of the museum’s main exhibition space, leading to kunsthall.art: a living, remotely editable website hijacking Bergen Kunsthall’s own identity and taking over the communication channels of both the gallery and the university. It is culture jamming in the same vein as MOM air’s takeover of WOW air’s identity and We’re Sorry’s takeover of Samherji’s — only here, the institution under critique was the one hosting the exhibition. When the institutions intervened, it didn’t stop the work. They became the work.

The artwork now mirrors the censorship back at the institution that imposed it, keeping the dispute visible and open rather than resolved.

The dispute drew extensive coverage in Norway and abroad, including the Associated Press, The Art Newspaper, NRK, and Bergens Tidende — attention that extended past the artwork and the censorship story to the graduation exhibition as a whole.

Bergen Kunsthall Project has since been supported by two grants from the Fritt Ord Foundation, a Norwegian free speech organization. The project has also drawn support from Freemuse, which holds UN consultative status, and UKS – Young Artists’ Society.

Gallery

As Seen On

Select Press

The Art Newspaper

Alleging pre-emptive censorship, artist ‘hijacks’ website of Norwegian gallery showing his work

NRK

Hemmeleg kunstverk «kan innehalde lovbrot»: – Universitetet sensurerer meg

Bergen Kunsthall Project

Official Project Page

Playing Outside

Playing Outside is an innovative digital art performance by ODEE, executed in December 2020. In this project, ODEE projected video games onto the facades of several prominent buildings in Reykjavík, including the Alþingi (Parliament House) and Háteigskirkja (Háteigur Church). Described as “digital graffiti,” the performance transformed these formal structures into interactive canvases, blurring the line between art and vandalism. The project served as a commentary on the constraints of the COVID-19 pandemic, encouraging people to think outside the box—literally and figuratively—by taking indoor activities into public spaces. The work also subtly critiqued the formal nature of these institutions, playfully subverting their seriousness by overlaying them with images from popular video games like Mortal Kombat and Doom. The performance drew significant attention, with some viewing it as a bold artistic statement, while others questioned its legality and appropriateness.

Co-Branding

Co-Branding is a unique conceptual and performance art piece by ODEE, showcased in a solo exhibition at the Iceland University of the Arts on November 17, 2022. This project centers on the concept of reverse culture jamming, where ODEE invited several of Iceland’s largest marketing firms to co-create artworks within his exhibition space. Each company paid a fee to contribute, creating pieces that ODEE would then sign, despite having no hand in their creation. The project explores the intersections of art, corporate identity, and the commodification of creativity. By reversing the typical culture jamming process, where artists subvert corporate messages, ODEE instead allowed corporate entities to engage with the art world on his terms, challenging traditional boundaries between art and advertising. The exhibition featured a diverse range of creations, including olfactory elements, and sparked discussion on the role of corporations in the art world.

Companies that participated in Co-Branding include PLAY, Joe & The Juice, Nói Síríus, World Class Iceland, Einstök Beer, and 66 North. More than two dozen other companies expressed interest in participating, but the available slots were filled quickly.

Collaborators

View this post on Instagram

A post shared by ODEE (@odeeart)

Wendy’s Inc Iceland

Wendy’s Inc Iceland is a thought-provoking conceptual art project by ODEE that explores the intersections of global branding, consumer culture, and national identity. By reimagining the iconic American fast-food chain Wendy’s as a fictional Icelandic entity, ODEE challenges the audience to reflect on the pervasive influence of multinational corporations and the ways in which they reshape local cultures and identities.

Concept and Execution

At the heart of Wendy’s Inc Iceland is the technique of culture jamming, a form of subversive art that appropriates and disrupts familiar corporate symbols to critique their underlying messages. The main focal point of this project was the full appropriation of the Wendy’s official website, replicated down to the smallest detail but with one significant twist: the site was given an Icelandic domain (.is), and every element was meticulously translated into Icelandic.

This digital intervention transformed the global brand into a fictional local entity, blending the iconic elements of Wendy’s with Icelandic culture. The website featured Icelandic translations of menu items, promotional materials, and even localized marketing slogans, creating a seamless yet surreal experience that blurred the lines between reality and parody.

ODEE extended the project beyond the digital realm with a visual identity, promotional materials, and a social media presence that all reinforced the illusion of an Icelandic Wendy’s franchise. The menu, for example, featured items that combined American fast-food staples with traditional Icelandic ingredients, adding a layer of humor and satire to the project.

Impact and Reception

Wendy’s Inc Iceland quickly gained attention for its clever and insightful commentary on the power of branding and the global reach of American consumer culture. The project’s cultural jamming approach and its appropriation of the Wendy’s brand sparked widespread discussion both in Iceland and internationally, as audiences engaged with the playful yet critical examination of how multinational corporations can influence and, in some cases, homogenize local cultures.

The project’s impact was significant enough to trigger a response from the Wendy’s Corporation. In reaction to ODEE’s work, Wendy’s applied for registration of their trademark in Iceland, highlighting the tangible effect that conceptual art can have on real-world corporate behavior.

Wendy’s Inc Iceland was praised for its creativity and its ability to engage the public in a meaningful dialogue about the effects of globalization. By reimagining a familiar brand in a distinctly Icelandic context, ODEE encouraged viewers to think critically about the ways in which global corporations shape the world around us, often at the expense of cultural diversity and local traditions.

Legacy

Wendy’s Inc Iceland stands as a testament to ODEE’s skill in using art to explore complex social and cultural issues. Through this project, he has once again demonstrated his ability to create thought-provoking work that challenges audiences to question the status quo and consider the broader implications of the world we live in.

This piece not only highlights the power of conceptual art to engage with contemporary issues but also reinforces ODEE’s role as a leading voice in the conversation about the impact of globalization on cultural identity. Wendy’s Inc Iceland remains a significant contribution to the ongoing discourse on the intersection of art, commerce, and society, with its impact resonating beyond the art world and into the actions of global corporations.

We’re Sorry, also known as Samherjagjörningurinn in Icelandic, is one of ODEE’s most powerful and provocative conceptual artworks, which boldly confronts issues of corporate malfeasance, accountability, and the role of art in social justice. This piece directly addresses the unethical practices of the Icelandic fishing giant Samherji, which was implicated in the infamous “Fishrot” scandal—a series of revelations about bribery, corruption, and exploitation in Namibia.

Concept and Execution

The heart of We’re Sorry lies in its stark and unapologetic critique of corporate wrongdoing. The artwork was conceived as a digital intervention, where ODEE replicated the official Samherji website but with a crucial twist—front and center was a bold apology, “We’re Sorry,” which stood as a direct condemnation of the company’s actions. The project did not merely imitate the corporate website; it transformed it into a platform for accountability, forcing a public reckoning with the devastating impact of Samherji’s actions.

The project extended beyond the digital realm into the physical space with a mural installation at the Reykjavík Art Museum. This mural, placed in a prominent public location, served to amplify the message of the artwork, bringing it into the public eye and sparking widespread discussion across Iceland and beyond. The mural was a visual representation of the digital intervention, ensuring that the message reached those who might not have encountered the online version.

Impact and Controversy

We’re Sorry quickly became one of the most talked-about art pieces in Iceland, and its impact was felt far beyond the art world. The provocative nature of the piece led to significant controversy, culminating in legal action by Samherji against ODEE. The case, which attracted international attention, is now set to go to trial in the High Court of London, highlighting the significant impact and controversy generated by the artwork.

This case underscores the power of art to challenge corporate power and spark necessary conversations about transparency and accountability. Through We’re Sorry, ODEE has not only critiqued a major corporation but has also emphasized the crucial role that art can play in exposing injustices and holding powerful entities to account.

We’re SORRY

Legacy

We’re Sorry (Samherjagjörningurinn) stands as a landmark in ODEE’s career and a significant moment in contemporary art. It is a testament to the power of conceptual art to provoke thought, inspire action, and challenge the status quo. By using art as a tool for social commentary, ODEE has highlighted the importance of accountability in global business operations and sparked a broader conversation about the role of art in advocating for justice.

This work has not only left a lasting mark on the art world but has also influenced public discourse, legal action, and academic study, making We’re Sorry a truly transformative piece in the landscape of contemporary art.

Samherji takes artist to High Court in London

Media Coverage

https://www.samherji.is/en/the-company/news/regarding-a-fake-press-release-and-website
https://www.undercurrentnews.com/2023/05/12/samherji-disclaims-fake-apology-website-release/
https://www.visir.is/g/20232413739d/ekki-samherji-sem-bidst-afsokunar
https://www.akureyri.net/is/frettir/folsud-frett-og-heimasida-i-nafni-samherja
https://heimildin.is/grein/17746/samherji-sver-af-ser-frettatilkynningu-thar-sem-be/
https://www.dv.is/eyjan/2023/05/11/folsud-frettatilkynning-og-heimasida-nafni-samherja/
https://vb.is/frettir/samherji-motmaelir-falskri-frettatilkynningu/
https://fiskifrettir.vb.is/sendu-falsada-frettatilkynning-i-nafni-samherja-a-erlenda-fjolmidla/
https://www.kaffid.is/segja-opruttna-adila-hafa-sent-falsada-frettatilkynningu-og-sett-upp-falska-heimasidu/
https://www.intrafish.com/fisheries/hackers-posing-as-icelandic-seafood-giant-samherji-issue-apology-for-role-in-fishrot-scandal/2-1-1449722
https://namibiafactcheck.org.na/report/fake-samherji-fishrot-apology-circulating/
https://www.namibian.com.na/icelandic-fishing-company-dismisses-fake-press-release/
https://www.mbl.is/200milur/frettir/2023/05/11/afsokun_ekki_a_vegum_samherja/
https://www.ruv.is/frettir/innlent/2023-05-11-dreifdi-falsadri-afsokunarbeidni-i-nafni-samherja
https://fiskerforum.com/impersonator-targets-samherji/
https://thefishingdaily.com/latest-news/sorry-for-fishrot-scandal-not-on-behalf-of-samherji-fake-attack/
https://heimildin.is/grein/17788/afsokunarbeidni-samherja-var-afsokunarbeidni-odees-fyrir-hond-islensku-thjodarinnar/
https://vb.is/frettir/lysir-yfir-abyrgd-a-falsadri-afsokunarbeidni-samherja/
https://www.ruv.is/frettir/innlent/2023-05-17-listamadurinn-odee-abyrgur-fyrir-falsadri-afsokunarbeidni-samherja
https://namibiafactcheck.org.na/news-item/were-sorry-artist-comes-into-the-open/
https://www.dv.is/eyjan/2023/5/17/oddur-stigur-fram-og-lysir-yfir-abyrgd-folsku-afsokunarbeidni-samherja/
https://www.visir.is/g/20232416392d/folsk-af-sokunar-beidni-sam-herja-reyndist-loka-verk-efni-i-lhi
https://www.samherji.is/is/frettir/bref-til-samstarfsfolks-1
https://heimildin.is/grein/17817/samherji-sakar-listamann-um-ad-reyna-ad-hafa-af-ser-fe/
https://www.dv.is/eyjan/2023/5/17/thorsteinn-mar-segir-odee-hafa-gert-tilraun-til-ad-hafa-fe-af-samherja/
https://www.akureyri.net/is/moya/news/falska-heimasidan-sogd-listgjorningur
https://www.mbl.is/200milur/frettir/2023/05/17/reyndi_ad_hafa_fe_af_samherja_med_listgjorningi/
https://listasafnreykjavikur.is/en/exhibitions/dynamo-iua-graduation-exhibition
https://www.mannlif.is/ordromur/sar-thorsteinn-mar/
https://fiskerforum.com/artists-were-sorry-message-and-some-hard-words/
https://www.akureyri.net/is/moya/news/falska-heimasidan-sogd-listgjorningur
https://www.mbl.is/200milur/frettir/2023/05/17/reyndi_ad_hafa_fe_af_samherja_med_listgjorningi/
https://listasafnreykjavikur.is/en/exhibitions/dynamo-iua-graduation-exhibition
https://www.visir.is/g/20232417046d/log-reglu-madur-sagdist-blada-madur-vid-eftir-grennslan-um-list-gjorning-odee
https://heimildin.is/grein/17813/logreglumadur-villti-a-ser-heimildir-vegna-samherjagjorningsins/
https://www.mannlif.is/frettir/gisli-logreglumadur-thottist-vera-bladamadur-flettu-mer-bara-upp-a-timarit-is/
https://heimildin.is/grein/17819/eg-a-thetta-ekki-en-ma-thetta-vist/
https://heimildin.is/grein/17814/vinnubrogd-eins-og-hja-skafta-og-skapta-i-tinnabokunum/
https://heimildin.is/grein/17790/umraedan-og-ahorfendurnir-eru-litirnir-og-penslarnir/
https://www.mbl.is/frettir/innlent/2023/05/22/samskipti_logreglumanns_til_skodunar/
https://heimildin.is/grein/17843/logreglan-skodar-hvort-gisli-jokull-hafi-brotid-log-og-reglur/
https://www.mannlif.is/frettir/rannsaka-starfshaetti-gisla-jokuls-athuga-hvort-verklag-hafi-verid-i-samraemi-vid-log-og-reglur/
https://www.ruv.is/frettir/innlent/2023-05-22-logreglan-skodar-hvort-logreglumadur-hafi-brotid-log
https://heimildin.is/grein/17904/samherji-stefndi-odee-fyrir-domara-i-bretlandi/
https://www.visir.is/g/20232420123d/odee-saetir-log-banni-i-bret-landi-og-tharf-ad-af-henda-sam-herja-verk-sitt
https://www.mannlif.is/ordromur/oddur-dreginn-fyrir-dom/
https://www.ruv.is/frettir/innlent/2023-05-26-samherji-fekk-bradabirgdalogbann-a-odd
https://www.samherji.is/is/frettir/tilkynning-fra-samherja
https://heimildin.is/grein/17912/thorsteinn-mar-segist-vera-ad-verja-vorumerki-en-leidi-hja-ser-tulkanir-a-list-og-tjaningafrelsi/
https://www.visir.is/g/20232420306d/segir-ad-um-vid-taeka-og-kostnadar-sama-ad-gerd-gegn-voru-merki-fe-lagsins-se-ad-raeda

MOM air

MOM air is one of ODEE’s most groundbreaking and provocative conceptual art projects, which brilliantly blurs the line between art and reality, while critiquing consumer culture and the power of branding. Launched in November 2020, MOM air was presented as a new low-cost airline, ostensibly modeled after the now-defunct Icelandic carrier, WOW air. However, this airline was no ordinary venture; it was an art piece, a social experiment, and a sharp commentary on the modern airline industry and the broader implications of consumer manipulation through branding and marketing.

Concept and Execution

The concept behind MOM air was to create a fictional airline that would, on the surface, appear entirely legitimate. The project included a fully operational website, complete with booking options, route maps, and a press release that was sent to media outlets worldwide. The branding of MOM air cleverly inverted that of WOW air, with the name itself being an upside-down reflection of WOW, emphasizing the satirical nature of the project.

Every aspect of MOM air was meticulously crafted to mimic the operations of a real airline. The website featured routes connecting major cities across Europe and North America, and the airline promised ultra-low-cost fares. However, the real intrigue lay in the airline’s proposed policies, which included absurd options like charging for in-flight necessities such as toilet paper and life vests, and offering special “COVID flights” for passengers who had tested positive for the virus.

This provocative approach was designed to push the boundaries of believability and force the public to question the authenticity of the brand, as well as the ethics of the airline industry’s increasingly aggressive cost-cutting measures. The project also highlighted the public’s susceptibility to marketing ploys and the thin line between what is considered a genuine service and what is simply a facade.

Impact and Reception

MOM air quickly gained international attention, with its website receiving tens of thousands of visitors within days of its launch. The project was covered by major news outlets, including CNN, which featured it on their front page twice, sparking widespread discussion about the future of low-cost airlines and the role of art in critiquing contemporary consumer culture.

The project’s reach was staggering, with MOM air capturing the attention of over 1 billion viewers globally. The response was a mix of intrigue, skepticism, and fascination, as people from all over the world attempted to book flights, applied for jobs with the airline, and engaged in online debates about its legitimacy. This overwhelming response highlighted the project’s success in engaging a broad audience, far beyond the traditional boundaries of the art world.

The following year, ODEE received a prestigious research grant of $30,000 to explore the impacts of MOM air on the airline industry and other related parties. This research has since become a foundational element for academic studies, contributing to published papers and serving as a key case study in teaching entrepreneurship at universities. The ongoing academic interest in MOM air underscores its significance not only as a piece of art but also as a thought-provoking exploration of entrepreneurship, media manipulation, and consumer behavior.

In addition to the public’s reaction, MOM air sparked conversations within the art community about the role of conceptual art in addressing real-world issues. The project was praised for its innovative use of media and technology to create a fully immersive experience, as well as its ability to blur the lines between reality and fiction in a way that forced audiences to confront uncomfortable truths about the world they live in.

MOM air stands as a testament to ODEE’s ability to merge art with social commentary, using the power of satire and parody to challenge established norms and provoke thought on a global scale. The project’s success lies not only in its execution but also in its capacity to engage, confuse, and inspire, leaving a lasting impact on both the art world and the broader public.

MOM air’s website

Media coverage

MOM air has been featured on multiple platforms and websites around the world.

Below are some of the major headlines MOM air inspired:

Worldwide (Abroad)

The spoof airline that could actually predict the future of travel – CNN, 20th of November 2020.

Is MOM air, a new and familiar-looking budget airline, for real? – Lonely Planet, 17th of November 2020.

New Airline Or Elaborate Hoax? Iceland’s MOM air Startup – Simple Flying, 6th of November 2020.

Mom Air “Not Performance Art Of Any Kind”, Creator Insists – Reykjavík Grapevine, 9th of November 2020.

A Hoax After All – Iceland’s MOM air Confirmed To Be Fake – Simple Flying, 20th of November 2020.

MOM air “Founder” Admits Airline Is Artwork, Not Real – One Mile at a Time, 20th of November 2020.

Will it Swim? MOM air Might be Iceland’s New Low-Cost Airline – Airport Spotting, 18th of November 2020

What A Twist: Mom Air Turns Out To Be Art Project All Along – Reykjavík Grapevine 20th of November 2020

MOM air: from airline to performance art – Aerotime, 20th of November 2020.

How flying will change in 2021 – CNN, 30th of December 2020.

MOM air Goes To Auction: Artist Oddur Eysteinn Friðriksson Talks Performance Art And How One Sells It – Reykjavík Grapevine, 18th of May 2021.

Icelandic (Local)

Nýtt flugfélag kynnt til leiks – Mom Air – Mbl, 5. nóvember 2020

Enginn kannast við nýtt flugfélag – MOM air – „Ég veit ekkert um þetta“ – DV, 5. nóvember 2020

Mom Air, gjörningur eða nýtt flugfélag? – Vísir, 5. nóvember 2020

Lögmaður félags Ballarin gerir athugasemd við dularfullt nýtt flugfélag – Fréttablaðið, 5. nóvember 2020

Lögmaður WOW air handviss um að MOM air sé gjörningur – Reykjavík síðdegis, 9. nóvember 2020

Aðsókn í MOM air svo mik­il að kerfið hrundi – Mbl / Síðdegisþátturinn, 11. nóvember 2020

Uppruni Mömmu brandarans – Eyjafréttir, 11. nóvember 2020

Fattararnir frá Eyjum eiga inni nokkrar níðstangir – Eyjafréttir, 13. nóvember 2020

Listrænir hrekkir og fjármálalífið – RÚV / Lestin, 15. nóvember 2020

„Spilin verða lögð á borðið á morgun“ – Mbl / Ísland Vaknar, 17. nóvember 2020

MOM air reynd­ist vera gabb – Mbl, 20. nóvember 2020

Leið illa þegar hann fékk um­sóknir frá vongóðum flugmönnum – Fréttablaðið, 20. nóvember 2020

MOM air lokaverkefni í Listaháskóla Íslands – Vísir, 20. nóvember 2020