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We invited Palestinian-American artist @sabri to embroider a type lock-up and pattern we made for “The Private Life of Ragdolls”. Sabri Sundos works with textiles and Tatreez, which is considered a social language and living archive. The result ended up being hybrid in its nature since he added floral motifs preset in his own work to the label we designed. It was based book and exhibition project on Venezuelan writer and humorist Aquiles Nazoa (1920-1976). 🇻🇪

The font we used was custom-made by @bghryct based on stitching patterns from the first edition in 1976 and the techniques used in the dolls that are part of the publication. The endpapers were designed by @samorius and came from the book we published in 2019. Box fabrication by @phosphorescentfacehighlighter

Sabri Sami Sundos work is rooted in his personal experience of being raised in the diaspora. He explores themes of identity, labor, and time. Through the merging of traditional craft and cultural iconography, his work emphasizes the importance of agency & human touch, highlighting the inherent tactile nature of art-making as a means of reclaiming and preserving heritage. 

More soon about our book collaborations with Sabri.
Photos by @samorius / Portrait by @bredvad (detail)

We invited Palestinian-American artist @sabri to embroider a type lock-up and pattern we made for “The Private Life of Ragdolls”. Sabri Sundos works with textiles and Tatreez, which is considered a social language and living archive. The result ended up being hybrid in its nature since he added floral motifs preset in his own work to the label we designed. It was based book and exhibition project on Venezuelan writer and humorist Aquiles Nazoa (1920-1976). 🇻🇪

The font we used was custom-made by @bghryct based on stitching patterns from the first edition in 1976 and the techniques used in the dolls that are part of the publication. The endpapers were designed by @samorius and came from the book we published in 2019. Box fabrication by @phosphorescentfacehighlighter

Sabri Sami Sundos work is rooted in his personal experience of being raised in the diaspora. He explores themes of identity, labor, and time. Through the merging of traditional craft and cultural iconography, his work emphasizes the importance of agency & human touch, highlighting the inherent tactile nature of art-making as a means of reclaiming and preserving heritage. 

More soon about our book collaborations with Sabri.
Photos by @samorius / Portrait by @bredvad (detail)

We invited Palestinian-American artist @sabri to embroider a type lock-up and pattern we made for “The Private Life of Ragdolls”. Sabri Sundos works with textiles and Tatreez, which is considered a social language and living archive. The result ended up being hybrid in its nature since he added floral motifs preset in his own work to the label we designed. It was based book and exhibition project on Venezuelan writer and humorist Aquiles Nazoa (1920-1976). 🇻🇪

The font we used was custom-made by @bghryct based on stitching patterns from the first edition in 1976 and the techniques used in the dolls that are part of the publication. The endpapers were designed by @samorius and came from the book we published in 2019. Box fabrication by @phosphorescentfacehighlighter

Sabri Sami Sundos work is rooted in his personal experience of being raised in the diaspora. He explores themes of identity, labor, and time. Through the merging of traditional craft and cultural iconography, his work emphasizes the importance of agency & human touch, highlighting the inherent tactile nature of art-making as a means of reclaiming and preserving heritage. 

More soon about our book collaborations with Sabri.
Photos by @samorius / Portrait by @bredvad (detail)

We invited Palestinian-American artist @sabri to embroider a type lock-up and pattern we made for “The Private Life of Ragdolls”. Sabri Sundos works with textiles and Tatreez, which is considered a social language and living archive. The result ended up being hybrid in its nature since he added floral motifs preset in his own work to the label we designed. It was based book and exhibition project on Venezuelan writer and humorist Aquiles Nazoa (1920-1976). 🇻🇪

The font we used was custom-made by @bghryct based on stitching patterns from the first edition in 1976 and the techniques used in the dolls that are part of the publication. The endpapers were designed by @samorius and came from the book we published in 2019. Box fabrication by @phosphorescentfacehighlighter

Sabri Sami Sundos work is rooted in his personal experience of being raised in the diaspora. He explores themes of identity, labor, and time. Through the merging of traditional craft and cultural iconography, his work emphasizes the importance of agency & human touch, highlighting the inherent tactile nature of art-making as a means of reclaiming and preserving heritage. 

More soon about our book collaborations with Sabri.
Photos by @samorius / Portrait by @bredvad (detail)

We invited Palestinian-American artist @sabri to embroider a type lock-up and pattern we made for “The Private Life of Ragdolls”. Sabri Sundos works with textiles and Tatreez, which is considered a social language and living archive. The result ended up being hybrid in its nature since he added floral motifs preset in his own work to the label we designed. It was based book and exhibition project on Venezuelan writer and humorist Aquiles Nazoa (1920-1976). 🇻🇪

The font we used was custom-made by @bghryct based on stitching patterns from the first edition in 1976 and the techniques used in the dolls that are part of the publication. The endpapers were designed by @samorius and came from the book we published in 2019. Box fabrication by @phosphorescentfacehighlighter

Sabri Sami Sundos work is rooted in his personal experience of being raised in the diaspora. He explores themes of identity, labor, and time. Through the merging of traditional craft and cultural iconography, his work emphasizes the importance of agency & human touch, highlighting the inherent tactile nature of art-making as a means of reclaiming and preserving heritage. 

More soon about our book collaborations with Sabri.
Photos by @samorius / Portrait by @bredvad (detail)

We invited Palestinian-American artist @sabri to embroider a type lock-up and pattern we made for “The Private Life of Ragdolls”. Sabri Sundos works with textiles and Tatreez, which is considered a social language and living archive. The result ended up being hybrid in its nature since he added floral motifs preset in his own work to the label we designed. It was based book and exhibition project on Venezuelan writer and humorist Aquiles Nazoa (1920-1976). 🇻🇪

The font we used was custom-made by @bghryct based on stitching patterns from the first edition in 1976 and the techniques used in the dolls that are part of the publication. The endpapers were designed by @samorius and came from the book we published in 2019. Box fabrication by @phosphorescentfacehighlighter

Sabri Sami Sundos work is rooted in his personal experience of being raised in the diaspora. He explores themes of identity, labor, and time. Through the merging of traditional craft and cultural iconography, his work emphasizes the importance of agency & human touch, highlighting the inherent tactile nature of art-making as a means of reclaiming and preserving heritage. 

More soon about our book collaborations with Sabri.
Photos by @samorius / Portrait by @bredvad (detail)

We invited Palestinian-American artist @sabri to embroider a type lock-up and pattern we made for “The Private Life of Ragdolls”. Sabri Sundos works with textiles and Tatreez, which is considered a social language and living archive. The result ended up being hybrid in its nature since he added floral motifs preset in his own work to the label we designed. It was based book and exhibition project on Venezuelan writer and humorist Aquiles Nazoa (1920-1976). 🇻🇪

The font we used was custom-made by @bghryct based on stitching patterns from the first edition in 1976 and the techniques used in the dolls that are part of the publication. The endpapers were designed by @samorius and came from the book we published in 2019. Box fabrication by @phosphorescentfacehighlighter

Sabri Sami Sundos work is rooted in his personal experience of being raised in the diaspora. He explores themes of identity, labor, and time. Through the merging of traditional craft and cultural iconography, his work emphasizes the importance of agency & human touch, highlighting the inherent tactile nature of art-making as a means of reclaiming and preserving heritage. 

More soon about our book collaborations with Sabri.
Photos by @samorius / Portrait by @bredvad (detail)

We invited Palestinian-American artist @sabri to embroider a type lock-up and pattern we made for “The Private Life of Ragdolls”. Sabri Sundos works with textiles and Tatreez, which is considered a social language and living archive. The result ended up being hybrid in its nature since he added floral motifs preset in his own work to the label we designed. It was based book and exhibition project on Venezuelan writer and humorist Aquiles Nazoa (1920-1976). 🇻🇪

The font we used was custom-made by @bghryct based on stitching patterns from the first edition in 1976 and the techniques used in the dolls that are part of the publication. The endpapers were designed by @samorius and came from the book we published in 2019. Box fabrication by @phosphorescentfacehighlighter

Sabri Sami Sundos work is rooted in his personal experience of being raised in the diaspora. He explores themes of identity, labor, and time. Through the merging of traditional craft and cultural iconography, his work emphasizes the importance of agency & human touch, highlighting the inherent tactile nature of art-making as a means of reclaiming and preserving heritage. 

More soon about our book collaborations with Sabri.
Photos by @samorius / Portrait by @bredvad (detail)

We invited Palestinian-American artist @sabri to embroider a type lock-up and pattern we made for “The Private Life of Ragdolls”. Sabri Sundos works with textiles and Tatreez, which is considered a social language and living archive. The result ended up being hybrid in its nature since he added floral motifs preset in his own work to the label we designed. It was based book and exhibition project on Venezuelan writer and humorist Aquiles Nazoa (1920-1976). 🇻🇪

The font we used was custom-made by @bghryct based on stitching patterns from the first edition in 1976 and the techniques used in the dolls that are part of the publication. The endpapers were designed by @samorius and came from the book we published in 2019. Box fabrication by @phosphorescentfacehighlighter

Sabri Sami Sundos work is rooted in his personal experience of being raised in the diaspora. He explores themes of identity, labor, and time. Through the merging of traditional craft and cultural iconography, his work emphasizes the importance of agency & human touch, highlighting the inherent tactile nature of art-making as a means of reclaiming and preserving heritage. 

More soon about our book collaborations with Sabri.
Photos by @samorius / Portrait by @bredvad (detail)

We invited Palestinian-American artist @sabri to embroider a type lock-up and pattern we made for “The Private Life of Ragdolls”. Sabri Sundos works with textiles and Tatreez, which is considered a social language and living archive. The result ended up being hybrid in its nature since he added floral motifs preset in his own work to the label we designed. It was based book and exhibition project on Venezuelan writer and humorist Aquiles Nazoa (1920-1976). 🇻🇪

The font we used was custom-made by @bghryct based on stitching patterns from the first edition in 1976 and the techniques used in the dolls that are part of the publication. The endpapers were designed by @samorius and came from the book we published in 2019. Box fabrication by @phosphorescentfacehighlighter

Sabri Sami Sundos work is rooted in his personal experience of being raised in the diaspora. He explores themes of identity, labor, and time. Through the merging of traditional craft and cultural iconography, his work emphasizes the importance of agency & human touch, highlighting the inherent tactile nature of art-making as a means of reclaiming and preserving heritage. 

More soon about our book collaborations with Sabri.
Photos by @samorius / Portrait by @bredvad (detail)

Find the perfect look for your space ✨⁠
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From sleek black and clean white to our bold new orange finish—Modern Shelving® offers a range of colors to match your style. Pair it with cabinets and drawers in beautifully crafted wood materials to create a setup that’s uniquely yours.⁠
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Planning to upgrade your space? Whether it’s a simple shelf or a full transformation, we’ve got you covered.⁠
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Just send us your photos and measurements, book a meeting with our design team, and we’ll provide a FREE custom render and proposal—tailored to your space and needs.⁠
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Design yours today.⁠
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Behind the Shelves | Dumbo, Brooklyn 📍⁠
⁠
From concept to reality—step inside @frontgeneralstore in Dumbo, Brooklyn, and see how Modern Shelving® transforms retail spaces into something truly functional and beautiful.⁠
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Designed in collaboration with architect Allana, this project blends style and purpose:⁠
✔️ Custom shelving for tote bags and hats⁠
✔️ Sleek white displays for premium items⁠
✔️ A standout 200+ inch wide system built for high-capacity clothing display⁠
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Every detail is thoughtfully planned—from finishes to functionality—to match the client’s vision and elevate the shopping experience.⁠
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At Modern Shelving®, we don’t just build shelves—we design systems that work for your space.⁠
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✨ Choose your designer and start creating your custom setup today.⁠
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#ModernShelving #BehindTheShelves #RetailDesign #StoreDisplay #DumboBrooklyn #CustomShelving #InteriorDesign #RetailInspiration

Honored to be a part of the Venezuelan section at the Best Book Design from all over the world 2026 exhibit in Leipzig, Germany @leipzigerbuchmesse —We sent copies to @stiftungbuchkunst including the catalog for Arbol de Aceite by @malandrophotos our bibliography of 10 Years of Venezuelan Publishing + Lynne Shapiro’s new title translated by @psenseve. More soon.

Honored to be a part of the Venezuelan section at the Best Book Design from all over the world 2026 exhibit in Leipzig, Germany @leipzigerbuchmesse —We sent copies to @stiftungbuchkunst including the catalog for Arbol de Aceite by @malandrophotos our bibliography of 10 Years of Venezuelan Publishing + Lynne Shapiro’s new title translated by @psenseve. More soon.

Honored to be a part of the Venezuelan section at the Best Book Design from all over the world 2026 exhibit in Leipzig, Germany @leipzigerbuchmesse —We sent copies to @stiftungbuchkunst including the catalog for Arbol de Aceite by @malandrophotos our bibliography of 10 Years of Venezuelan Publishing + Lynne Shapiro’s new title translated by @psenseve. More soon.

Honored to be a part of the Venezuelan section at the Best Book Design from all over the world 2026 exhibit in Leipzig, Germany @leipzigerbuchmesse —We sent copies to @stiftungbuchkunst including the catalog for Arbol de Aceite by @malandrophotos our bibliography of 10 Years of Venezuelan Publishing + Lynne Shapiro’s new title translated by @psenseve. More soon.

Honored to be a part of the Venezuelan section at the Best Book Design from all over the world 2026 exhibit in Leipzig, Germany @leipzigerbuchmesse —We sent copies to @stiftungbuchkunst including the catalog for Arbol de Aceite by @malandrophotos our bibliography of 10 Years of Venezuelan Publishing + Lynne Shapiro’s new title translated by @psenseve. More soon.

Honored to be a part of the Venezuelan section at the Best Book Design from all over the world 2026 exhibit in Leipzig, Germany @leipzigerbuchmesse —We sent copies to @stiftungbuchkunst including the catalog for Arbol de Aceite by @malandrophotos our bibliography of 10 Years of Venezuelan Publishing + Lynne Shapiro’s new title translated by @psenseve. More soon.

Honored to be a part of the Venezuelan section at the Best Book Design from all over the world 2026 exhibit in Leipzig, Germany @leipzigerbuchmesse —We sent copies to @stiftungbuchkunst including the catalog for Arbol de Aceite by @malandrophotos our bibliography of 10 Years of Venezuelan Publishing + Lynne Shapiro’s new title translated by @psenseve. More soon.

Honored to be a part of the Venezuelan section at the Best Book Design from all over the world 2026 exhibit in Leipzig, Germany @leipzigerbuchmesse —We sent copies to @stiftungbuchkunst including the catalog for Arbol de Aceite by @malandrophotos our bibliography of 10 Years of Venezuelan Publishing + Lynne Shapiro’s new title translated by @psenseve. More soon.

Honored to be a part of the Venezuelan section at the Best Book Design from all over the world 2026 exhibit in Leipzig, Germany @leipzigerbuchmesse —We sent copies to @stiftungbuchkunst including the catalog for Arbol de Aceite by @malandrophotos our bibliography of 10 Years of Venezuelan Publishing + Lynne Shapiro’s new title translated by @psenseve. More soon.

Honored to be a part of the Venezuelan section at the Best Book Design from all over the world 2026 exhibit in Leipzig, Germany @leipzigerbuchmesse —We sent copies to @stiftungbuchkunst including the catalog for Arbol de Aceite by @malandrophotos our bibliography of 10 Years of Venezuelan Publishing + Lynne Shapiro’s new title translated by @psenseve. More soon.

CRANIA •by @adalbersalash

Formally, the book is meant to be perceived as a medical guide or as a small encyclopedia. It comes inside a gauze sleeve and is wrapped like an envelope, similar to when medications are prescribed in the U.S. We wanted to evoke the rawness of the texts in the binding details—the sewing and the thread, the exposed spine with printed signatures—and in the typographic selection: Public Sans, a geometric sans, and Labrada, a serif by @omnibustype. One might think that there’s a fixed relationship between language and typographic style, but as the book evolves, these lines blur. The cover speaks to our failure as a society founded on colonial practices.

“This is a book-museum with an exhibition about the cranial vault (…) It would be accurate to define Crania as a conceptual map that is at the same time the display of several diagrams/sculptures/performances, in which narrative and documentary aspects are sometimes accentuated (…) That variety makes the book bold and noteworthy, in the Letra Muerta editorial tradition” @humorvagabundo

Drawings by @jesushverano.studio translation by @robinepmyers. Photos by @daniela_spector & @samorius

Read more on our website. Also available in our online shop.

CRANIA •by @adalbersalash

Formally, the book is meant to be perceived as a medical guide or as a small encyclopedia. It comes inside a gauze sleeve and is wrapped like an envelope, similar to when medications are prescribed in the U.S. We wanted to evoke the rawness of the texts in the binding details—the sewing and the thread, the exposed spine with printed signatures—and in the typographic selection: Public Sans, a geometric sans, and Labrada, a serif by @omnibustype. One might think that there’s a fixed relationship between language and typographic style, but as the book evolves, these lines blur. The cover speaks to our failure as a society founded on colonial practices.

“This is a book-museum with an exhibition about the cranial vault (…) It would be accurate to define Crania as a conceptual map that is at the same time the display of several diagrams/sculptures/performances, in which narrative and documentary aspects are sometimes accentuated (…) That variety makes the book bold and noteworthy, in the Letra Muerta editorial tradition” @humorvagabundo

Drawings by @jesushverano.studio translation by @robinepmyers. Photos by @daniela_spector & @samorius

Read more on our website. Also available in our online shop.

CRANIA •by @adalbersalash

Formally, the book is meant to be perceived as a medical guide or as a small encyclopedia. It comes inside a gauze sleeve and is wrapped like an envelope, similar to when medications are prescribed in the U.S. We wanted to evoke the rawness of the texts in the binding details—the sewing and the thread, the exposed spine with printed signatures—and in the typographic selection: Public Sans, a geometric sans, and Labrada, a serif by @omnibustype. One might think that there’s a fixed relationship between language and typographic style, but as the book evolves, these lines blur. The cover speaks to our failure as a society founded on colonial practices.

“This is a book-museum with an exhibition about the cranial vault (…) It would be accurate to define Crania as a conceptual map that is at the same time the display of several diagrams/sculptures/performances, in which narrative and documentary aspects are sometimes accentuated (…) That variety makes the book bold and noteworthy, in the Letra Muerta editorial tradition” @humorvagabundo

Drawings by @jesushverano.studio translation by @robinepmyers. Photos by @daniela_spector & @samorius

Read more on our website. Also available in our online shop.

CRANIA •by @adalbersalash

Formally, the book is meant to be perceived as a medical guide or as a small encyclopedia. It comes inside a gauze sleeve and is wrapped like an envelope, similar to when medications are prescribed in the U.S. We wanted to evoke the rawness of the texts in the binding details—the sewing and the thread, the exposed spine with printed signatures—and in the typographic selection: Public Sans, a geometric sans, and Labrada, a serif by @omnibustype. One might think that there’s a fixed relationship between language and typographic style, but as the book evolves, these lines blur. The cover speaks to our failure as a society founded on colonial practices.

“This is a book-museum with an exhibition about the cranial vault (…) It would be accurate to define Crania as a conceptual map that is at the same time the display of several diagrams/sculptures/performances, in which narrative and documentary aspects are sometimes accentuated (…) That variety makes the book bold and noteworthy, in the Letra Muerta editorial tradition” @humorvagabundo

Drawings by @jesushverano.studio translation by @robinepmyers. Photos by @daniela_spector & @samorius

Read more on our website. Also available in our online shop.

CRANIA •by @adalbersalash

Formally, the book is meant to be perceived as a medical guide or as a small encyclopedia. It comes inside a gauze sleeve and is wrapped like an envelope, similar to when medications are prescribed in the U.S. We wanted to evoke the rawness of the texts in the binding details—the sewing and the thread, the exposed spine with printed signatures—and in the typographic selection: Public Sans, a geometric sans, and Labrada, a serif by @omnibustype. One might think that there’s a fixed relationship between language and typographic style, but as the book evolves, these lines blur. The cover speaks to our failure as a society founded on colonial practices.

“This is a book-museum with an exhibition about the cranial vault (…) It would be accurate to define Crania as a conceptual map that is at the same time the display of several diagrams/sculptures/performances, in which narrative and documentary aspects are sometimes accentuated (…) That variety makes the book bold and noteworthy, in the Letra Muerta editorial tradition” @humorvagabundo

Drawings by @jesushverano.studio translation by @robinepmyers. Photos by @daniela_spector & @samorius

Read more on our website. Also available in our online shop.

CRANIA •by @adalbersalash

Formally, the book is meant to be perceived as a medical guide or as a small encyclopedia. It comes inside a gauze sleeve and is wrapped like an envelope, similar to when medications are prescribed in the U.S. We wanted to evoke the rawness of the texts in the binding details—the sewing and the thread, the exposed spine with printed signatures—and in the typographic selection: Public Sans, a geometric sans, and Labrada, a serif by @omnibustype. One might think that there’s a fixed relationship between language and typographic style, but as the book evolves, these lines blur. The cover speaks to our failure as a society founded on colonial practices.

“This is a book-museum with an exhibition about the cranial vault (…) It would be accurate to define Crania as a conceptual map that is at the same time the display of several diagrams/sculptures/performances, in which narrative and documentary aspects are sometimes accentuated (…) That variety makes the book bold and noteworthy, in the Letra Muerta editorial tradition” @humorvagabundo

Drawings by @jesushverano.studio translation by @robinepmyers. Photos by @daniela_spector & @samorius

Read more on our website. Also available in our online shop.

CRANIA •by @adalbersalash

Formally, the book is meant to be perceived as a medical guide or as a small encyclopedia. It comes inside a gauze sleeve and is wrapped like an envelope, similar to when medications are prescribed in the U.S. We wanted to evoke the rawness of the texts in the binding details—the sewing and the thread, the exposed spine with printed signatures—and in the typographic selection: Public Sans, a geometric sans, and Labrada, a serif by @omnibustype. One might think that there’s a fixed relationship between language and typographic style, but as the book evolves, these lines blur. The cover speaks to our failure as a society founded on colonial practices.

“This is a book-museum with an exhibition about the cranial vault (…) It would be accurate to define Crania as a conceptual map that is at the same time the display of several diagrams/sculptures/performances, in which narrative and documentary aspects are sometimes accentuated (…) That variety makes the book bold and noteworthy, in the Letra Muerta editorial tradition” @humorvagabundo

Drawings by @jesushverano.studio translation by @robinepmyers. Photos by @daniela_spector & @samorius

Read more on our website. Also available in our online shop.

CRANIA •by @adalbersalash

Formally, the book is meant to be perceived as a medical guide or as a small encyclopedia. It comes inside a gauze sleeve and is wrapped like an envelope, similar to when medications are prescribed in the U.S. We wanted to evoke the rawness of the texts in the binding details—the sewing and the thread, the exposed spine with printed signatures—and in the typographic selection: Public Sans, a geometric sans, and Labrada, a serif by @omnibustype. One might think that there’s a fixed relationship between language and typographic style, but as the book evolves, these lines blur. The cover speaks to our failure as a society founded on colonial practices.

“This is a book-museum with an exhibition about the cranial vault (…) It would be accurate to define Crania as a conceptual map that is at the same time the display of several diagrams/sculptures/performances, in which narrative and documentary aspects are sometimes accentuated (…) That variety makes the book bold and noteworthy, in the Letra Muerta editorial tradition” @humorvagabundo

Drawings by @jesushverano.studio translation by @robinepmyers. Photos by @daniela_spector & @samorius

Read more on our website. Also available in our online shop.

CRANIA •by @adalbersalash

Formally, the book is meant to be perceived as a medical guide or as a small encyclopedia. It comes inside a gauze sleeve and is wrapped like an envelope, similar to when medications are prescribed in the U.S. We wanted to evoke the rawness of the texts in the binding details—the sewing and the thread, the exposed spine with printed signatures—and in the typographic selection: Public Sans, a geometric sans, and Labrada, a serif by @omnibustype. One might think that there’s a fixed relationship between language and typographic style, but as the book evolves, these lines blur. The cover speaks to our failure as a society founded on colonial practices.

“This is a book-museum with an exhibition about the cranial vault (…) It would be accurate to define Crania as a conceptual map that is at the same time the display of several diagrams/sculptures/performances, in which narrative and documentary aspects are sometimes accentuated (…) That variety makes the book bold and noteworthy, in the Letra Muerta editorial tradition” @humorvagabundo

Drawings by @jesushverano.studio translation by @robinepmyers. Photos by @daniela_spector & @samorius

Read more on our website. Also available in our online shop.

CRANIA •by @adalbersalash

Formally, the book is meant to be perceived as a medical guide or as a small encyclopedia. It comes inside a gauze sleeve and is wrapped like an envelope, similar to when medications are prescribed in the U.S. We wanted to evoke the rawness of the texts in the binding details—the sewing and the thread, the exposed spine with printed signatures—and in the typographic selection: Public Sans, a geometric sans, and Labrada, a serif by @omnibustype. One might think that there’s a fixed relationship between language and typographic style, but as the book evolves, these lines blur. The cover speaks to our failure as a society founded on colonial practices.

“This is a book-museum with an exhibition about the cranial vault (…) It would be accurate to define Crania as a conceptual map that is at the same time the display of several diagrams/sculptures/performances, in which narrative and documentary aspects are sometimes accentuated (…) That variety makes the book bold and noteworthy, in the Letra Muerta editorial tradition” @humorvagabundo

Drawings by @jesushverano.studio translation by @robinepmyers. Photos by @daniela_spector & @samorius

Read more on our website. Also available in our online shop.

NYC BUILT DIFFERENT.⁠
⁠
From our first time at New York Build to a packed Booth 455—this was one for the books.⁠
Energy. Connections. Endless design conversations.⁠
⁠
And we’re just getting started.⁠
⁠
Catch the highlights.⁠
See what everyone’s been talking about.⁠
Then come design your own space with us.⁠
⁠
DUMBO Hybrid Studio is now open.⁠
⁠
Watch the recap → then let’s build yours.⁠
⁠
#ModernShelving #NYCBuild #NYCEvents #BuildShow #DesignInNYC #ModularDesign #Recap #JavitsCenter

The main branch of the New York Public Library @nypl is now hosting the work of @john_vasquez_mejias in their collection.

The woodcuts and puppets are a testimony of his research on Puerto Rico, and an exploration of subjects of his heritage and family histories. His book was also part of the exhibit hosted by the library “¡Wepa! Puertorriqueños en el mundo de los cómics”

We celebrate this in our studio and hope to see everyone this Friday for his performance. Always honored to be working with John.

Photos by @samorius

The main branch of the New York Public Library @nypl is now hosting the work of @john_vasquez_mejias in their collection.

The woodcuts and puppets are a testimony of his research on Puerto Rico, and an exploration of subjects of his heritage and family histories. His book was also part of the exhibit hosted by the library “¡Wepa! Puertorriqueños en el mundo de los cómics”

We celebrate this in our studio and hope to see everyone this Friday for his performance. Always honored to be working with John.

Photos by @samorius

The main branch of the New York Public Library @nypl is now hosting the work of @john_vasquez_mejias in their collection.

The woodcuts and puppets are a testimony of his research on Puerto Rico, and an exploration of subjects of his heritage and family histories. His book was also part of the exhibit hosted by the library “¡Wepa! Puertorriqueños en el mundo de los cómics”

We celebrate this in our studio and hope to see everyone this Friday for his performance. Always honored to be working with John.

Photos by @samorius

The main branch of the New York Public Library @nypl is now hosting the work of @john_vasquez_mejias in their collection.

The woodcuts and puppets are a testimony of his research on Puerto Rico, and an exploration of subjects of his heritage and family histories. His book was also part of the exhibit hosted by the library “¡Wepa! Puertorriqueños en el mundo de los cómics”

We celebrate this in our studio and hope to see everyone this Friday for his performance. Always honored to be working with John.

Photos by @samorius

The main branch of the New York Public Library @nypl is now hosting the work of @john_vasquez_mejias in their collection.

The woodcuts and puppets are a testimony of his research on Puerto Rico, and an exploration of subjects of his heritage and family histories. His book was also part of the exhibit hosted by the library “¡Wepa! Puertorriqueños en el mundo de los cómics”

We celebrate this in our studio and hope to see everyone this Friday for his performance. Always honored to be working with John.

Photos by @samorius

The main branch of the New York Public Library @nypl is now hosting the work of @john_vasquez_mejias in their collection.

The woodcuts and puppets are a testimony of his research on Puerto Rico, and an exploration of subjects of his heritage and family histories. His book was also part of the exhibit hosted by the library “¡Wepa! Puertorriqueños en el mundo de los cómics”

We celebrate this in our studio and hope to see everyone this Friday for his performance. Always honored to be working with John.

Photos by @samorius

The main branch of the New York Public Library @nypl is now hosting the work of @john_vasquez_mejias in their collection.

The woodcuts and puppets are a testimony of his research on Puerto Rico, and an exploration of subjects of his heritage and family histories. His book was also part of the exhibit hosted by the library “¡Wepa! Puertorriqueños en el mundo de los cómics”

We celebrate this in our studio and hope to see everyone this Friday for his performance. Always honored to be working with John.

Photos by @samorius

The main branch of the New York Public Library @nypl is now hosting the work of @john_vasquez_mejias in their collection.

The woodcuts and puppets are a testimony of his research on Puerto Rico, and an exploration of subjects of his heritage and family histories. His book was also part of the exhibit hosted by the library “¡Wepa! Puertorriqueños en el mundo de los cómics”

We celebrate this in our studio and hope to see everyone this Friday for his performance. Always honored to be working with John.

Photos by @samorius

We are excited to share that we are launching our new website! 🪦🪦🪦 🪦🪦🪦 💐You can now see a selection of our projects, the work we do regarding collection development, design, research, and archives. We also added a list of the artists we represent, and the estates we manage. You can also book a slot to visit our reading room or a design consultation.

✨We are officially opening one extra slot for consultations for February✨

The archive section is very modest so far. Soon we will make an open call for volunteers to help us upload more content (it’s too much, more than 2000 images).

Website development by @wearesoulful, design by Letra Muerta Inc & Soulful. Tremendous effort and help from @samorius on every possible front. Proofreading by @corockliff and @erikamorillo. Video editing done in-house with some help from @cuentosdelcaribe — Fonts by @omnibustype.

Link in bio.

New year new portrait. By @john_vasquez_mejiasChristmas gift from my dear @fmereb

John Vasquez Mejias builds puppets to avoid giving book talks.

“Ever since I was little, my father was telling me about Puerto Rican history and the various ways Puerto Ricans get ripped off (...) The fact that the Puerto Rican flag was illegal for years. That they tested bombs there. They used Puerto Ricans as cheap labor. The list goes on and on (…) Somebody once said that we write history to see where we’ve been, and we write fiction to explain how we feel about the history. I don’t know who said that, but I like it and I think about that a lot.”

John Vasquez Mejias is a New York based writer and artist, printmaker and puppeteer, storyteller and art teacher. He is best known for his graphic novel “The Puerto Rican War” detailing a little-known group of Puerto Rican revolutionaries in the 1950s. He recently completed a body of work on the Puerto Rican revolutionary, Lolita Lebrón. His work is part of many collections nationally and internationally.

We are taking requests for possible collaboration opportunities with John for 2026. You can shoot us an email: contacto@letramuerta.nyc

Puppeteer: John Vasquez Mejias
In the video: Characters from the PR War play, PR revolutionary, and cop1.
Video by @samorius , Letra Muerta Inc.

Árbol de Aceite 🏴🇻🇪 by @malandrophotos and Letra Muerta, is a limited-edition archival collection depicting Cabimas, a Venezuelan oil city whose racialized history of oil extraction has had a lasting impact on the local community.

The box contains an image-text fold-out, giclées, silkscreens, and a sample of oil (the same that was used for printing). It also includes a hard drive with a video, alongside a mobile device for viewing. Similar to pigments floating in water before marbling paper, crude petroleum floats on the surface of Lake Maracaibo in Venezuela and transfers to its people, to the food they consume, and to all surfaces that surround them. 

In the context of changing U.S.–Venezuela oil ties, this work questions the dynamics defining future geopolitics, migration, and the significance of the catholic Black saint, San Benito.

In the artist’s own words: “Photography itself contributed greatly to the exoticization of people during imperial times, even in the representations of the current crisis; people’s suffering is documented to be exhibited as a novelty instead of a document for accountability. I want our realities to be taken seriously.”

Ronald Pizzoferrato (B. Caracas, 1988) is an artist and photographer based in Switzerland. His Afro-Caribbean identity informs his artistic research, with a focus on documenting the social and cultural realities of his native Venezuela, engaging global issues of identity, race, and violence. He holds a Master of Arts in Design, specializing in Trends & Identity at the Zurich University of Arts. He is currently a doctoral candidate at the University of Bern’s Studies in the Arts (SINTA), with a research focus on digitization, migration, digital humanities, and decolonization.

Photos of Cabimas @malandrophotos, photos for this post @samorius, video editing of oil printing by @__gabrielvasquez__ ,fabrication by artist @ecastaldo_artandbooks, design, concept, and printing @letramuertainc / currently exhibited @jayseveninc / exhibit co-curated with @j7md

Árbol de Aceite 🏴🇻🇪 by @malandrophotos and Letra Muerta, is a limited-edition archival collection depicting Cabimas, a Venezuelan oil city whose racialized history of oil extraction has had a lasting impact on the local community.

The box contains an image-text fold-out, giclées, silkscreens, and a sample of oil (the same that was used for printing). It also includes a hard drive with a video, alongside a mobile device for viewing. Similar to pigments floating in water before marbling paper, crude petroleum floats on the surface of Lake Maracaibo in Venezuela and transfers to its people, to the food they consume, and to all surfaces that surround them. 

In the context of changing U.S.–Venezuela oil ties, this work questions the dynamics defining future geopolitics, migration, and the significance of the catholic Black saint, San Benito.

In the artist’s own words: “Photography itself contributed greatly to the exoticization of people during imperial times, even in the representations of the current crisis; people’s suffering is documented to be exhibited as a novelty instead of a document for accountability. I want our realities to be taken seriously.”

Ronald Pizzoferrato (B. Caracas, 1988) is an artist and photographer based in Switzerland. His Afro-Caribbean identity informs his artistic research, with a focus on documenting the social and cultural realities of his native Venezuela, engaging global issues of identity, race, and violence. He holds a Master of Arts in Design, specializing in Trends & Identity at the Zurich University of Arts. He is currently a doctoral candidate at the University of Bern’s Studies in the Arts (SINTA), with a research focus on digitization, migration, digital humanities, and decolonization.

Photos of Cabimas @malandrophotos, photos for this post @samorius, video editing of oil printing by @__gabrielvasquez__ ,fabrication by artist @ecastaldo_artandbooks, design, concept, and printing @letramuertainc / currently exhibited @jayseveninc / exhibit co-curated with @j7md

Árbol de Aceite 🏴🇻🇪 by @malandrophotos and Letra Muerta, is a limited-edition archival collection depicting Cabimas, a Venezuelan oil city whose racialized history of oil extraction has had a lasting impact on the local community.

The box contains an image-text fold-out, giclées, silkscreens, and a sample of oil (the same that was used for printing). It also includes a hard drive with a video, alongside a mobile device for viewing. Similar to pigments floating in water before marbling paper, crude petroleum floats on the surface of Lake Maracaibo in Venezuela and transfers to its people, to the food they consume, and to all surfaces that surround them. 

In the context of changing U.S.–Venezuela oil ties, this work questions the dynamics defining future geopolitics, migration, and the significance of the catholic Black saint, San Benito.

In the artist’s own words: “Photography itself contributed greatly to the exoticization of people during imperial times, even in the representations of the current crisis; people’s suffering is documented to be exhibited as a novelty instead of a document for accountability. I want our realities to be taken seriously.”

Ronald Pizzoferrato (B. Caracas, 1988) is an artist and photographer based in Switzerland. His Afro-Caribbean identity informs his artistic research, with a focus on documenting the social and cultural realities of his native Venezuela, engaging global issues of identity, race, and violence. He holds a Master of Arts in Design, specializing in Trends & Identity at the Zurich University of Arts. He is currently a doctoral candidate at the University of Bern’s Studies in the Arts (SINTA), with a research focus on digitization, migration, digital humanities, and decolonization.

Photos of Cabimas @malandrophotos, photos for this post @samorius, video editing of oil printing by @__gabrielvasquez__ ,fabrication by artist @ecastaldo_artandbooks, design, concept, and printing @letramuertainc / currently exhibited @jayseveninc / exhibit co-curated with @j7md

Árbol de Aceite 🏴🇻🇪 by @malandrophotos and Letra Muerta, is a limited-edition archival collection depicting Cabimas, a Venezuelan oil city whose racialized history of oil extraction has had a lasting impact on the local community.

The box contains an image-text fold-out, giclées, silkscreens, and a sample of oil (the same that was used for printing). It also includes a hard drive with a video, alongside a mobile device for viewing. Similar to pigments floating in water before marbling paper, crude petroleum floats on the surface of Lake Maracaibo in Venezuela and transfers to its people, to the food they consume, and to all surfaces that surround them. 

In the context of changing U.S.–Venezuela oil ties, this work questions the dynamics defining future geopolitics, migration, and the significance of the catholic Black saint, San Benito.

In the artist’s own words: “Photography itself contributed greatly to the exoticization of people during imperial times, even in the representations of the current crisis; people’s suffering is documented to be exhibited as a novelty instead of a document for accountability. I want our realities to be taken seriously.”

Ronald Pizzoferrato (B. Caracas, 1988) is an artist and photographer based in Switzerland. His Afro-Caribbean identity informs his artistic research, with a focus on documenting the social and cultural realities of his native Venezuela, engaging global issues of identity, race, and violence. He holds a Master of Arts in Design, specializing in Trends & Identity at the Zurich University of Arts. He is currently a doctoral candidate at the University of Bern’s Studies in the Arts (SINTA), with a research focus on digitization, migration, digital humanities, and decolonization.

Photos of Cabimas @malandrophotos, photos for this post @samorius, video editing of oil printing by @__gabrielvasquez__ ,fabrication by artist @ecastaldo_artandbooks, design, concept, and printing @letramuertainc / currently exhibited @jayseveninc / exhibit co-curated with @j7md

Árbol de Aceite 🏴🇻🇪 by @malandrophotos and Letra Muerta, is a limited-edition archival collection depicting Cabimas, a Venezuelan oil city whose racialized history of oil extraction has had a lasting impact on the local community.

The box contains an image-text fold-out, giclées, silkscreens, and a sample of oil (the same that was used for printing). It also includes a hard drive with a video, alongside a mobile device for viewing. Similar to pigments floating in water before marbling paper, crude petroleum floats on the surface of Lake Maracaibo in Venezuela and transfers to its people, to the food they consume, and to all surfaces that surround them. 

In the context of changing U.S.–Venezuela oil ties, this work questions the dynamics defining future geopolitics, migration, and the significance of the catholic Black saint, San Benito.

In the artist’s own words: “Photography itself contributed greatly to the exoticization of people during imperial times, even in the representations of the current crisis; people’s suffering is documented to be exhibited as a novelty instead of a document for accountability. I want our realities to be taken seriously.”

Ronald Pizzoferrato (B. Caracas, 1988) is an artist and photographer based in Switzerland. His Afro-Caribbean identity informs his artistic research, with a focus on documenting the social and cultural realities of his native Venezuela, engaging global issues of identity, race, and violence. He holds a Master of Arts in Design, specializing in Trends & Identity at the Zurich University of Arts. He is currently a doctoral candidate at the University of Bern’s Studies in the Arts (SINTA), with a research focus on digitization, migration, digital humanities, and decolonization.

Photos of Cabimas @malandrophotos, photos for this post @samorius, video editing of oil printing by @__gabrielvasquez__ ,fabrication by artist @ecastaldo_artandbooks, design, concept, and printing @letramuertainc / currently exhibited @jayseveninc / exhibit co-curated with @j7md

Árbol de Aceite 🏴🇻🇪 by @malandrophotos and Letra Muerta, is a limited-edition archival collection depicting Cabimas, a Venezuelan oil city whose racialized history of oil extraction has had a lasting impact on the local community.

The box contains an image-text fold-out, giclées, silkscreens, and a sample of oil (the same that was used for printing). It also includes a hard drive with a video, alongside a mobile device for viewing. Similar to pigments floating in water before marbling paper, crude petroleum floats on the surface of Lake Maracaibo in Venezuela and transfers to its people, to the food they consume, and to all surfaces that surround them. 

In the context of changing U.S.–Venezuela oil ties, this work questions the dynamics defining future geopolitics, migration, and the significance of the catholic Black saint, San Benito.

In the artist’s own words: “Photography itself contributed greatly to the exoticization of people during imperial times, even in the representations of the current crisis; people’s suffering is documented to be exhibited as a novelty instead of a document for accountability. I want our realities to be taken seriously.”

Ronald Pizzoferrato (B. Caracas, 1988) is an artist and photographer based in Switzerland. His Afro-Caribbean identity informs his artistic research, with a focus on documenting the social and cultural realities of his native Venezuela, engaging global issues of identity, race, and violence. He holds a Master of Arts in Design, specializing in Trends & Identity at the Zurich University of Arts. He is currently a doctoral candidate at the University of Bern’s Studies in the Arts (SINTA), with a research focus on digitization, migration, digital humanities, and decolonization.

Photos of Cabimas @malandrophotos, photos for this post @samorius, video editing of oil printing by @__gabrielvasquez__ ,fabrication by artist @ecastaldo_artandbooks, design, concept, and printing @letramuertainc / currently exhibited @jayseveninc / exhibit co-curated with @j7md

Árbol de Aceite 🏴🇻🇪 by @malandrophotos and Letra Muerta, is a limited-edition archival collection depicting Cabimas, a Venezuelan oil city whose racialized history of oil extraction has had a lasting impact on the local community.

The box contains an image-text fold-out, giclées, silkscreens, and a sample of oil (the same that was used for printing). It also includes a hard drive with a video, alongside a mobile device for viewing. Similar to pigments floating in water before marbling paper, crude petroleum floats on the surface of Lake Maracaibo in Venezuela and transfers to its people, to the food they consume, and to all surfaces that surround them. 

In the context of changing U.S.–Venezuela oil ties, this work questions the dynamics defining future geopolitics, migration, and the significance of the catholic Black saint, San Benito.

In the artist’s own words: “Photography itself contributed greatly to the exoticization of people during imperial times, even in the representations of the current crisis; people’s suffering is documented to be exhibited as a novelty instead of a document for accountability. I want our realities to be taken seriously.”

Ronald Pizzoferrato (B. Caracas, 1988) is an artist and photographer based in Switzerland. His Afro-Caribbean identity informs his artistic research, with a focus on documenting the social and cultural realities of his native Venezuela, engaging global issues of identity, race, and violence. He holds a Master of Arts in Design, specializing in Trends & Identity at the Zurich University of Arts. He is currently a doctoral candidate at the University of Bern’s Studies in the Arts (SINTA), with a research focus on digitization, migration, digital humanities, and decolonization.

Photos of Cabimas @malandrophotos, photos for this post @samorius, video editing of oil printing by @__gabrielvasquez__ ,fabrication by artist @ecastaldo_artandbooks, design, concept, and printing @letramuertainc / currently exhibited @jayseveninc / exhibit co-curated with @j7md

Árbol de Aceite 🏴🇻🇪 by @malandrophotos and Letra Muerta, is a limited-edition archival collection depicting Cabimas, a Venezuelan oil city whose racialized history of oil extraction has had a lasting impact on the local community.

The box contains an image-text fold-out, giclées, silkscreens, and a sample of oil (the same that was used for printing). It also includes a hard drive with a video, alongside a mobile device for viewing. Similar to pigments floating in water before marbling paper, crude petroleum floats on the surface of Lake Maracaibo in Venezuela and transfers to its people, to the food they consume, and to all surfaces that surround them. 

In the context of changing U.S.–Venezuela oil ties, this work questions the dynamics defining future geopolitics, migration, and the significance of the catholic Black saint, San Benito.

In the artist’s own words: “Photography itself contributed greatly to the exoticization of people during imperial times, even in the representations of the current crisis; people’s suffering is documented to be exhibited as a novelty instead of a document for accountability. I want our realities to be taken seriously.”

Ronald Pizzoferrato (B. Caracas, 1988) is an artist and photographer based in Switzerland. His Afro-Caribbean identity informs his artistic research, with a focus on documenting the social and cultural realities of his native Venezuela, engaging global issues of identity, race, and violence. He holds a Master of Arts in Design, specializing in Trends & Identity at the Zurich University of Arts. He is currently a doctoral candidate at the University of Bern’s Studies in the Arts (SINTA), with a research focus on digitization, migration, digital humanities, and decolonization.

Photos of Cabimas @malandrophotos, photos for this post @samorius, video editing of oil printing by @__gabrielvasquez__ ,fabrication by artist @ecastaldo_artandbooks, design, concept, and printing @letramuertainc / currently exhibited @jayseveninc / exhibit co-curated with @j7md

Árbol de Aceite 🏴🇻🇪 by @malandrophotos and Letra Muerta, is a limited-edition archival collection depicting Cabimas, a Venezuelan oil city whose racialized history of oil extraction has had a lasting impact on the local community.

The box contains an image-text fold-out, giclées, silkscreens, and a sample of oil (the same that was used for printing). It also includes a hard drive with a video, alongside a mobile device for viewing. Similar to pigments floating in water before marbling paper, crude petroleum floats on the surface of Lake Maracaibo in Venezuela and transfers to its people, to the food they consume, and to all surfaces that surround them. 

In the context of changing U.S.–Venezuela oil ties, this work questions the dynamics defining future geopolitics, migration, and the significance of the catholic Black saint, San Benito.

In the artist’s own words: “Photography itself contributed greatly to the exoticization of people during imperial times, even in the representations of the current crisis; people’s suffering is documented to be exhibited as a novelty instead of a document for accountability. I want our realities to be taken seriously.”

Ronald Pizzoferrato (B. Caracas, 1988) is an artist and photographer based in Switzerland. His Afro-Caribbean identity informs his artistic research, with a focus on documenting the social and cultural realities of his native Venezuela, engaging global issues of identity, race, and violence. He holds a Master of Arts in Design, specializing in Trends & Identity at the Zurich University of Arts. He is currently a doctoral candidate at the University of Bern’s Studies in the Arts (SINTA), with a research focus on digitization, migration, digital humanities, and decolonization.

Photos of Cabimas @malandrophotos, photos for this post @samorius, video editing of oil printing by @__gabrielvasquez__ ,fabrication by artist @ecastaldo_artandbooks, design, concept, and printing @letramuertainc / currently exhibited @jayseveninc / exhibit co-curated with @j7md

Árbol de Aceite 🏴🇻🇪 by @malandrophotos and Letra Muerta, is a limited-edition archival collection depicting Cabimas, a Venezuelan oil city whose racialized history of oil extraction has had a lasting impact on the local community.

The box contains an image-text fold-out, giclées, silkscreens, and a sample of oil (the same that was used for printing). It also includes a hard drive with a video, alongside a mobile device for viewing. Similar to pigments floating in water before marbling paper, crude petroleum floats on the surface of Lake Maracaibo in Venezuela and transfers to its people, to the food they consume, and to all surfaces that surround them. 

In the context of changing U.S.–Venezuela oil ties, this work questions the dynamics defining future geopolitics, migration, and the significance of the catholic Black saint, San Benito.

In the artist’s own words: “Photography itself contributed greatly to the exoticization of people during imperial times, even in the representations of the current crisis; people’s suffering is documented to be exhibited as a novelty instead of a document for accountability. I want our realities to be taken seriously.”

Ronald Pizzoferrato (B. Caracas, 1988) is an artist and photographer based in Switzerland. His Afro-Caribbean identity informs his artistic research, with a focus on documenting the social and cultural realities of his native Venezuela, engaging global issues of identity, race, and violence. He holds a Master of Arts in Design, specializing in Trends & Identity at the Zurich University of Arts. He is currently a doctoral candidate at the University of Bern’s Studies in the Arts (SINTA), with a research focus on digitization, migration, digital humanities, and decolonization.

Photos of Cabimas @malandrophotos, photos for this post @samorius, video editing of oil printing by @__gabrielvasquez__ ,fabrication by artist @ecastaldo_artandbooks, design, concept, and printing @letramuertainc / currently exhibited @jayseveninc / exhibit co-curated with @j7md

10 años y los que faltan ♥️
“He sobrevivido todos tus libros” — @samorius

10 años y los que faltan ♥️
“He sobrevivido todos tus libros” — @samorius

10 años y los que faltan ♥️
“He sobrevivido todos tus libros” — @samorius