Shadowbanned Cultural Workers Lab presents our next event: Our Images Under Imperialism (2026) This time, we’re working with @kashi.archive, who has curated a pop-up exhibition exploring how our images move through the internet, and presenting a lecture on e-colonialism with @hannahhcha. We’ll kick things off with a lecture from Kashi and Hannah, followed by an opportunity to explore the exhibition and its interactive works, such as "net.timeline" by @h4nnahdaniela. Come think about what happens to our images once they enter the internet: who controls them, how they’re circulated, and what happens when our lives become data, content, and commodities. Light refreshments will be available. Complimentary zine!

Join Shadowbanned Press for an evening of political education, creative practice, and collective reflection exploring the Black Radical Tradition—the histories, movements, and revolutionary practices that have shaped struggles for liberation and community survival. ​The evening will begin with a short teach-in highlighting lesser-known moments of resistance, revolutionary organizing, labor movements, revolts, and mutual aid initiatives, while examining how these histories have been obscured through repression, erasure, and co-optation. ​Following the teach-in, participants will take part in a zine-making workshop, using writing, collage, and visual art to respond to the histories explored together and reflect on what the Black Radical Tradition means in the present. ​The event celebrates the release of Artifacts of the Black Radical Tradition (1791–1970s), an art book from Shadowbanned Press that brings together archival materials and visual histories documenting radical Black struggle and political imagination. ​Copies of the book will be available for purchase at the event, with 50% of book sales benefiting GrowHouse. ​Come learn, make, and collectively imagine what these histories can teach us about building a more liberated future.

​Inspired by the history of the Al Hakeem Printing Press, one of Palestine's earliest Arabic printing presses established after the Nakba, artist Layal Srouji leads an intergenerational workshop exploring printmaking, language, and cultural memory. Participants will construct kinetic paper "printing machines" using collage, paper engineering, and found materials while reflecting on what is preserved, what is lost, and how creative acts of reconstruction can keep histories alive across generations. No prior artistic experience is required, and the workshop welcomes families, youth, and adults. ​50% of all proceeds will be donated to the Sameer Project

All Street Gallery and Shadowbanned Magazine are pleased to present Beyond the Image: A Benefit Exhibition for the Sameer Project, a group exhibition bringing together eleven artists whose work examines how images of the Middle East and its diasporas get made — and who has the power to make them. A portion of proceeds from sales will benefit The Sameer Project, a Palestinian-led mutual aid initiative delivering food, water, medical care, and shelter to displaced families across Gaza. Working across painting, sculpture, digital collage, manipulated generative imagery, printmaking, textiles, and text, the artists in Beyond the Image treat representation not as a record to be recovered but as a process to be exposed. Their materials — family photographs, colonial archives, inherited visual traditions, political symbols, found letters, manipulated generative imagery — are shaped by memory, power, and omission. The exhibition asks what these materials reveal when they are fragmented, obscured, woven, or made strange, rather than smoothed into a single legible picture. Across the exhibition's many practices and materials, Beyond the Image resists a single expectation: that an image should give uncomplicated access to a person, a place, or a history. Faces stay intimate but partly unreadable. Archives illuminate and erase in the same gesture. Technologies sold as new turn out to inherit old habits of looking. The exhibition treats this not as representation's failure but as its actual condition — and proposes that the way through it is not a clearer picture, but a more honest account of what any picture leaves out.