Network Spirituality was a collaborative exhibition at University of California, Riverside in April of 2022. This body of work was produced at a time when “vibe shift” and 2010s tumblr-core/ indie-sleaze/etc discourse was at a peak. For the past 2 years we had been closely observing shifts in taste, which were previously discussed in our prior DNR posts. With discussions of a loosely defined “network spirituality” making the rounds amongst the terminally online, we appropriated the term as a way of thinking through algorithmic domination (pseudo-reality), the “content mirage”, as well as the rampant use of religious signifiers within this online milieu. Works in the exhibition consist of seeming unrelated source material combined to generate a tertiary object, synthesizing yet another layer of cultural forms referential to an undying past. Breuer’s Wassily chair reupholstered with American Apparel ads, Superstudio Passiflora lamps morphed into Glossier and Olivia Rodrigo stickers, Sottsass’ Ultrafragola bastardized into an iFunny template. At the center of the space sits a nearly perfect replica of Sottsass’ 1992 Sybilla console table with mirror, its wood laminate replaced with an obscenely large composition print. This work acts as an altar, shifting the gallery into a hyperstitional space. On the altar sits a deadstock American Apparel “foxglove” violet tennis skirt, a facsimile of an Olivia Rodrigo Sour Patch Kids limited edition box, and a facsimile of Tiqquin’s Preliminary Materials For a Theory of the Young-Girl with custom violet cover. Within a day of the show’s opening, Olivia had signed a deal to become Glossier’s first celebrity “brand ambassador”, and within a month Praying had released a “Praying for Olivia Rodrigo” purse as tour merchandise. Upon release of the purse it took the place of the box on the altar. Perhaps art has the ability to enact change after all.