The central work of the exhibition, Book of Hours, is a monumental animated projection that reinterprets the medieval devotional manuscript Très Riches Heures du Duc de Berry through the lens of contemporary art fairs, techno-feudalism, and surveillance culture. Each month of the calendar cycle is remixed into a speculative cosmology where saints become collectors, laborers become artists, and sacred rituals collapse into the transactional choreography of visibility, branding, and cultural capital.

The work layers religious iconography, Dallas-specific mythology, institutional critique, and AI-generated imagery into a moving illuminated manuscript. References to fairs, contracts, gallery systems, extraction economies, and digital authorship sit beside symbols of worship, astrology, labor, and collapse. Positioned as the altar of the exhibition, the piece asks whether the contemporary art world functions less like a marketplace and more like a belief system—one where faith is measured through access, proximity, and participation.