Theez chix's horizons stem from the curious economic nexus that has recently besieged the (NY) art world. That is, their work - perhaps in its desperate search for visibility - dangles oedipally between the self-aware performative economics of their Columbia teachers that typified pre-crisis NY art (Gareth James, Blake Rayne, Reena, etc.) and the recent curatorial desire for work that takes recession-proof sociological hallucinations as its muse (Cyprien Galliard, Tris Vonna-Mitchell, Keren Cytter, etc.) - plus, to top it off, there's bizarre Guyton/Walker worship. Why castigate DIY in lieu of castigating Puerto Rican collectors by making art that has them salivating? Or better yet, why castigate DIY in lieu of literalizing euro-trash? DI's overidentificatory enactment of the "shadier" corners of neoliberal exchange self-consciously steers clear of the aesthetically undesirable politics like child workers, undocumented daylaborers, human trafficking, etc. in favor of the skimmed beauty mentioned in this review, leaving one to cynically ponder a "critical" logic that indicts the however-flawed constituent politics of subcultural initiatives as something synonymous with post-Bretton Woods economic exploitation. Do Brätsch and Roder even know what a vegan potluck is? Is a course offered?