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A Hyperallergic newsletter titled “The Art of Showing Up” brings together reports on voters placing “I Voted” stickers at memorials for people killed by ICE officers, a gathering around artist Jeremy Shaw’s video installation after a deadly Berlin Pride attack, and Guadalupe Rosales’s East Los Angeles project. The newsletter frames these acts as ways people honor others and build community; it does not provide a single new policy announcement or a complete account of each project.
Hyperallergic’s newsletter “The Art of Showing Up” connects several recent acts of public remembrance and community-making, including voters placing “I Voted” stickers on memorials for people killed by ICE officers and a gathering around artist Jeremy Shaw’s video installation after a deadly attack at Berlin’s Pride Festival. The newsletter’s central point is that art and civic gestures can give people ways to honor the dead, express solidarity and find community.
The newsletter reports that, in the days leading up to Election Day, hundreds of voters placed “I Voted” stickers on memorials dedicated to people murdered by ICE officers. In Houston, dozens of stickers appeared on a roadside memorial to Lorenzo Salgado Araujo, whom the newsletter says ICE killed in July. One message left at the memorial read, “I voted for you.” The source describes the gesture as an impromptu participatory artwork that has been echoed at other memorials around the country.
Another item concerns artist Jeremy Shaw. In a profile by writer Eileen G’Sell, Shaw described a gathering at his video installation the day after a deadly attack on Berlin’s Pride Festival that summer. About 200 people assembled around the work, which shows dancers moving toward ecstatic revelation. The newsletter presents the gathering as a moment of collective mourning, defiance and solidarity.
The edition also highlights a project by Guadalupe Rosales, reported by Carolina A. Miranda, as a tribute to Rosales’s Eastside Los Angeles upbringing. The account links the project to friends and relationships that offered respite amid rising violence and anti-immigrant sentiment. Alongside these stories, the newsletter points readers to a public artwork by Paul Ramírez Jonas in Toronto, where strangers made promises to one another and received printed contracts commemorating their vows.
Small Gestures, Public Remembrance
The stories show how people use shared public spaces and artworks to respond to loss, political tension and social isolation. At the Houston memorial, an ordinary voting sticker becomes a message directed toward someone who has died. At Shaw’s installation, viewers gathered not only to see the work but also to be together after an attack. These examples illustrate how remembrance can take a participatory form rather than remaining solely a private act.
The newsletter does not claim these gestures change policy or resolve the conditions behind the deaths and attacks. Their reported significance is social and symbolic: they make grief visible, create opportunities for people to acknowledge one another, and preserve personal histories. Rosales’s project likewise connects an individual neighborhood history with relationships and community ties that offered support during difficult circumstances.
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The edition opens with an editor’s account of voting in Iowa amid heavy rain. Lisa Yin Zhang, Hyperallergic’s associate editor, says a poll worker described a steady stream of voters throughout the day. Zhang also mentions economic pressures, farm debt and deteriorating infrastructure as factors shaping the state’s political climate. These are the editor’s observations, not a reported forecast or evidence that the state’s result would change.
From there, the newsletter moves between election participation, memorials, art and local history. Its framing treats the ballot box as one way people make themselves heard, while the Houston stickers and other projects represent different ways of expressing care and preserving memory. The source also includes unrelated arts news and exhibition listings; those items are not necessary to understand the newsletter’s central theme.
“It’s what we do — create meaning, build a community, find a way forward.”
— Lisa Yin Zhang, Hyperallergic associate editor
Details Behind the Reported Gatherings
The newsletter does not identify every memorial where stickers appeared, name all the people commemorated, or provide details about the circumstances of each reported death. It says the stickers have appeared at memorials around the country but does not specify how many sites were involved or how that count was gathered. The source characterizes Araujo’s death as a killing by ICE; it does not include an agency response or further case documentation.
The edition also gives limited information about the Berlin attack and the circumstances surrounding it, and it does not describe the full scope, format or schedule of Rosales’s project. Readers should treat the newsletter as a roundup and editorial framing of several stories, rather than a complete investigation of those events.
Further Reporting and Project Details
The newsletter points readers to the related profile by Eileen G’Sell on Shaw and the report by Carolina A. Miranda on Rosales’s project for fuller accounts. The source does not announce a scheduled follow-up or say whether the memorials will remain in place, whether more stickers will be added, or whether the Toronto promise project will return. Those developments remain unreported in the supplied material.
Key Questions
What is “The Art of Showing Up”?
It is a Hyperallergic newsletter that connects several art and community stories through themes of public remembrance, solidarity and showing up for other people.
What happened at the Houston memorial?
The newsletter says voters placed dozens of “I Voted” stickers on a roadside memorial to Lorenzo Salgado Araujo, whom the source says ICE killed in July. One sticker was accompanied by the message, “I voted for you.”
What was the gathering around Jeremy Shaw’s installation?
According to the profile summarized in the newsletter, about 200 people gathered at Shaw’s video installation the day after a deadly attack at Berlin’s Pride Festival. The newsletter describes the gathering as a space for mourning, defiance and solidarity.
What information is still missing?
The newsletter does not provide a full account of the deaths or the Berlin attack, identify every memorial involved, or give detailed schedules and formats for Rosales’s project. It also does not report what will happen next with the memorials or the Toronto artwork.
Source: hyperallergic.com
