Andrea Steves
artist / curator / producer / organizer


  1. Museum of Capitalism
  2. Essential Services
  3. Artist Project Group
  4. deurendis
  6. with Ryts Monet

Publications / Writing / Talks (selected)
  1. Tracing The Line: The Promissory Politic of Climate Change (eflux)
  2. Museum of Capitalism Second Edition Publication (Inventory Press)
  3. Works Fall: On Ryts Monet and Ruins (EN / IT)
  4. Alienation in the Museum of Capitalism (FWD Museums Journal, but I will read it to you.)
  5. Art After the Future (with James McAnally)
  6. Looking for Justice Downwind of Trinity (podcast with Gem Romuld)
  7. What Is The Speculative? Sublevel Magazine
  8. Curating "Outside" of the Institution (Exhibitions on the Cusp)

Press / Interviews (selected)
  1. A View From the Edge of the Earth (interview for The Chart)
  2. “In Pursuit of A Dream Museum” -- Museum of Capitalism and Paul Farber for Monument Lab
  3. Building A Museum of Capitalism (NYT)
  4. What Would A Museum of Capitalism Look Like? (New Yorker)
  5. 100 Works of Art that Defined the Decade (Artnet)
  6. This New Museum Imagines a World Where Capitalism Is Dead (Sarah Burke for Artsy)
  7. A Time-Twisting Visit to the Museum of Capitalism

Older Collaborations
  1. RADIO GRAVEYARD ORBIT (w/Laressa Dickey)
  2. with Steffi Sembner
  3. Half-Life Collective
  4. Center for Hydrosocial Studies
  5. Double Vision in Maine / California


Half-Life Collective

“Within this nuclear reality whose lives are seen as disposable? Whose bodies are rendered collateral?”

Did you know that Bladerunner was set in November 2019? (Link to Overland)

A collaboration between Alex Moulis, Andrea Steves, Crunch Kefford, Gem Romuld, Jessie Boylan, Linda Dement (code), Tessa Rex, Yul Scarf, Curated by Tessa Rex & Yul Scarf

Ridley Scott’s Bladerunner was set in a nuclear dystopia in November 2019.

and here we are.

The earth is powdered with radioactive isotopes, like icing sugar on a cake. A thin yellow line registers in our teeth, our bones and in the geologic strata. Nuclear dystopia is here and it is unequally distributed.

After a recent road trip to visit Anangu lands in and around Maralinga- one of three sites of British nuclear testing in Australia – this group of artists and activists consider the nuclear present and what it means to ‘record the future that is already here’*.

A room in Naarm (Melbourne) is awash with orange and blue light, party tassel curtains hang from the ceiling beams. Four fans push air around the space making the curtains dance and shimmer, agitating the light so that it spreads through the room. Headphones contain the sounds of Pitjantjatjara, Yankunytjatjara and English; stories of pain, loss, strength and resistance. In the corner, a desk invites visitors to play Atomic Mix’n’Match, a twisted game of nuclear universals overlaid on sites affected by the nuclear industrial complex. Seven ceramic balloons lie on the floor, cast in footage from Maralinga and Blade Runner.

Did you know that Blade Runner was set in November 2019? This show is an inhalation, calm and terrifying. It opens a space to contemplate a juncture in time, to consider Ridley Scott’s speculative future in relation to our current nuclear reality.

In August this year, seven artists and friends travelled to Maralinga on Anangu Country, South Australia. We shared histories of documenting, campaigning and working alongside communities who have been impacted by the radioactive chain – from uranium mining to nuclear testing and the ‘management’ of radioactive waste – in this continent and beyond. We set out to learn from those impacted by nuclear tests at Maralinga and the radioactive fallout that spread all across this continent.

*Jasbir Puar, Terrorist Assemblages

A 5 minute Excerpt from 'Sci Cli' 2019 - A collaboration between Alex Moulis, Andrea Steves, Crunch Kefford, Gem Romuld, Jessie Boylan, Linda Dement (code), Tessa Rex, Yul Scarf.

Nuclear events destroy time; life fundamentally changes in an instant. Wind carries atomic survivor stories across place and time as it continues to spread radioactivity across the surface of former nuclear test sites and beyond. Nuclear events unfold forever: the concept of “before” and “after” a nuclear explosion is intangible, as there is no access to the before, and the after will never arrive.

Image: Yul Scarf & Tessa Rex, 2019, Tears in the Rain, projection on silver party tassels