‘White Cube’ art-world terminology referring to a white room, in which an artwork is displayed with reverence, on a white wall. Put simply…it’s a gallery. During the 1930s white walls became popular among American curators of the Bauhaus era, while simultaneously, the government of the time standardised the colour white for all German gallery walls. The phenomenon spread throughout the rest of the world when MoMA institutionalised the white cube by donning a permanent coat of paint in 1936. By formalising a viewer’s experience of modern and contemporary art, ‘The White Cube’ has become a symbol of elitism and an art-world far removed from the artist. Academia and its theoretical fields of contemporaneity, phenomenology and the contextualisation of art within art history has, over time, replaced studio practice. Nearly a century later, the time has come for artists to abandon dead-hanging work on the wall of a white cube, and claim the freedom to create uninhibited art that moves and lives in virtual omnipotence…¬†White Cubeless.