As far as an alliteration of artist names is aimed to be the main thematic device, Hangman’s Marquee submits itself as an exploration of the exhibition format, a drunken improvisation based on traditional form. Hangman’s Marquee is an attempt at utilizing “the exhibition as means of interrogation, a tool by which to critically question the limits of both the (art) object and its institutions.” (Filipovic, 2015)

What we are presented with is an exhibition by way of children’s guessing game; an activity of constraint-based chance curation. The show follows an unavoidable circumstance leading to a misalignment in the Altro Mondo exhibition schedule, the subsequent selection of Nice Buenaventura, Nilo Ilarde and Nile Pobadora as exhibitors turning them into complicit participants bound together by the thinnest of threads—four letters, a common vowel and consonant. And depending on who you ask, a rose by any other name is what sells anyway.