Organized by social artist Emily Hassell as a collaborative public art intervention proposal carried out in conjunction with some of the nations most significant photographers including Daniel Chauche, Jorge Chavaria, Gg, Manuel Morillo, Jorge Cuyun as well as US based photographers Michael Plyler and Stephen Slocomb, with the addition of 12 images courtesy of the Cirma Archive to include portraits from historic photographers Noriega and Yas.   

While Covid restrictions were instated, it was a question whether this collaborative socially engaged public art intervention would be allowed, or shut down by the local police. Much would depend on people not gathering in large groups, but rather just pausing, and passing by. Even though the appropriate public permissions had acquired from the municipal governance, we wouldn't know for sure until we were up and running onsite to see if it would work or not.  ​

Because of this, the exhibition was done somewhat in stealth mode. They did not publicise the events publicly or send out press releases as would normally be done for an exhibition that showed such high profile of photographers work being showed.

More than 20,000 people effectively ended up seeing this exhibition over the course of four weekends in December of 2020. With all other exhibitions and public events around the whole world having been cancelled, Hassell was highly aware of how absolutely novelty the timing of the exhibition was on a global scale, and was thrilled she could make happen while the rest of the world was shut down. It proved to be a truly extraordinary gift for the thousands of people from all walks of life who expressed their delight and greatest appreciation to be able to experience and see this stunning exhibition during such a dark and isolating time of seemingly endless quarantine. 

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Hassell intentionally chose portraits. While every citizen in every nation across the globe were wearing masks and social distancing was the new normal, the exhibition was to bring and up close encounter that served as an intimate reminder of freedom and hope while reflecting the sheer beauty of our shared humanity projected larger than life on a cinematic, monumental scale.   

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Where social gatherings were capped at no more than 10 people, digitally projecting as an open aire exhibition on the street was a calculated strategy that allowed for a constant flow of people to see it without restrictions. Although photographs of projections do not capture the etherial beauty that comes with seeing them live, we are so grateful to all of the artists who participated in this radical exhibition -as it was both the only, and quietest Contemporary Public Art Exhibition anywhere in the world at this time. 

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