This project proposes to transform the bathrooms of Poush — often overlooked yet intensely inhabited spaces — into a dispersed exhibition format during Open Studios. Through a call for interventions by resident artists, more than a dozen public restrooms across the campus are reimagined as sites for sonic, sculptural, and performative installation.

A printed map will guide visitors through these micro-exhibitions, inviting them to explore unfamiliar buildings — and prompting artists themselves to move across spatial boundaries they may rarely cross. In doing so, the project constructs a relational cartography, activating the bathroom not as an aside, but as an aesthetic, political, and infrastructural site.

At its core, the project draws on care as a spatial and political practice — not as sentiment or service, but as a mode of maintenance, attention, and interdependence. As articulated by theorists Joan Tronto and María Puig de la Bellacasa, care is understood as a situated ethics: material, collective, and relational.

To engage a bathroom as a curatorial site is to reckon with use, decay, and friction — to inhabit what is often unseen, and offer gestures of generosity or disruption without aestheticizing the residue. The bathroom is not peripheral to the building's function; it is central to its metabolism.

These spaces are defined by contradiction: regulated yet intimate, gendered yet anonymous, utilitarian yet symbolically saturated. In contrast to the presumed neutrality of the gallery, bathrooms are marked by bodily traces, improvisation, and repair. Cracked tiles, graffiti, and informal amenities reveal an ecology of daily negotiation.

The works proposed here do not overwrite those conditions, but move through them — inserting altered objects, ephemeral gestures, sound loops, or quiet systems of hospitality.

As Foucault has shown, the emergence of modern sanitation infrastructure coincides with the rise of disciplinary regimes, where architecture becomes a technology of bodily regulation. Far from being neutral, bathrooms function as zones where access, protection, and exposure are socially produced.

Julietta Singh, in her writings on bodily permeability, reframes these spaces as sites where relational vulnerability becomes visible — not a symptom of weakness, but a condition of co-existence. Beatriz Colomina adds that even the most intimate interiors are never free from surveillance and performativity. The toilet, in this context, is not simply a functional room, but a symbolic and political threshold.

While not central to the curatorial premise, graffiti must be acknowledged as an existing grammar of space-claiming. Governed by subcultural ethics — where tags are overwritten by bombs, and bombs only by murals — graffiti occupies bathrooms with coded authority. This project responds obliquely, introducing the art installation as a fourth register: not a negation, but a redirection. Can hospitality interrupt inscription? Can care act as a form of spatial authorship?

Within the fragmented ecology of Poush — where over two hundred artists inhabit parallel buildings and temporalities — the bathroom becomes a point of contact. Not only for visitors during Open Studios, but for artists moving between buildings, encountering other atmospheres, gestures, and ways of working.

What is proposed is not a network of installations, but a dispersed infrastructure of resonance, offering space rather than occupying it.