“One of the most significant consequences of the Occupy Wall Street movement that descended on lower Manhattan in 2011 was a rejection of that cynicism and a renewed vigor in the alliance between cultural workers and actual workers. From Adbusters to n+1, cultural reviews found common cause with labor, united against the increasingly oligarchic structures of capital freed from democratic accountability. So when it first emerged that the Frieze fair, unlike the Armory and the Art Dealers Association of America (ADAA), New York’s other two major fairs, would not be employing union labor for the construction of its vast (and vastly temporary) facility, the initial protest fell not just to the slighted unions but to an offshoot of this newly formed consciousness. Occupy Museums staged protests at the exit of the 2012 Frieze Art Fair, passing out pamphlets and copies of the n+1-produced Occupy! Gazette into the hands and windows of fair patrons. An alternative event was also organized: Un-Frieze, a barter-based fair. The unions picketed Frieze sponsor Deutsche Bank at 60 Wall Street and joined Occupy Museums at the fair with a signature inflatable rat.”