None could speak of villainy better than the best. And so we may attribute to Iago no better description of the villain than him who beholds him in the mirror. The fool Iago is best positioned to view the acts of fools. Who could better speak of his own acts than the fool who has lived them? And so Iago, the man wise to his folly, speaks best when he says, “There’s none so foul and foolish thereunto,/But does foul pranks which fair and wise ones do.” This could well apply to the prankish actions of an art troupe who staged the greatest hoax the art world has ever known in the World Trade Center one year before 9/11. Jack the Ripper said, “I gave birth to the twentieth century.” Jack sent several pieces of prankish art telegraphing his crimes to Scotland Yard. Analogously, the psychopathic and presumed Mossad agents whose prankish art exhibition was staged on the 91st floor of Building 1 of the World Trade Center and included many sketch and photograph mementos of their exhibition in a book, gave birth to the 21st century, “the project for a new American century,” the secret destiny of America, the New Atlantis, a project that would send America into free fall like the Falling Man mannequin that Gelatin had planted in Building 1, which would be sent into freefall later before the camera lens of Associated Press photo journalist Richard Drew.
The book recording these antics and published in 2001 is called Gelatin: The B-Thing. It was published by Walter Konig in Cologne, Germany in 2001. The book purports to document a March 6, 2000 exhibition by art students staged in a “studiospace provided by the lower Manhattan cultural council on the 91st floor of World Trade Center 1.”
Not all daytime activity is so clean. As a security specialist, the author can attest to the fact that many crimes are committed in the plain light of day and in full public view. The criminal who commits crime in plain sight is audacious and takes advantage of that audaciousness because no one expects it. Most people, even security people, suffer from “change blindness”. We don’t see it because we don’t expect to see it. No one would think of “pretentious” cross-dressing art students as terrorists or covert operatives. Under the cover of an art exhibition, they can walk right past security without a security guard even blinking. It may have been the greatest performance art piece in history to con security staff in this way. Most Americans have no time for art, the blue collar set particularly. Most security guards in the World Trade Center would look away upon seeing this troupe entering the lobby, repulsed by the sight and the thought of art students dressed in drag visiting some studio in the WTC.
Some consider the art exhibition a hoax and claim it never took place. But why would Gelatin host a party afterwards toasting the success of something that never happened and then insist that all attendees turn in all pictures taken at the party celebration? It doesn’t make sense that you would celebrate a non-event anymore than the Israelis found in jubilant celebration in a park in New Jersey were celebrating a non-event. What do both groups have in common? They’re both Israeli. Hmmm. It does rather give one cause for pause and consideration. The claim is that they feared deportation and insisted that attendees of the party turn in photos of the party celebrations. Why would they fear deportation over pictures of a party celebration? Clearly there would be nothing to fear if the exhibition had been a mere hoax and non-event. The hoax is the clever way in which these Israeli Mossad agents have tried to turn this piece of deconstructionism art into a hoax. They are clearly up on their Derrida. They almost paraphrase him when he argued that, “The world is a book written inside and out.” “The amazing thing that happens when you take out a window is that the whole city comes into the building,” Mr. Janka, one of the art troupe was quoted in the New York Times article as saying.1
“If you write about the article maybe you can just not write about it too much,” is reported to have asked a reporter after a feature had been written about the art exhibition on the 91st floor of Tower 1. This was the first of several calls protesting the publication of an article written on the World Trade Center art exhibition despite the fact that they had already published their book Gelatin: The B Thing.2 In the wake of the New York Times article it is odd that no one in eleven years has raised the most pertinent issue. Hoax or not, how could they have chosen the 91st floor of Building 1 for the exhibition and named themselves after an explosive if they had no prior knowledge of the September 11 attacks and had nothing to do with the planting of explosive charges in the Tower? Stick that explosive question in your pipe and smoke it Gelatin.
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