His language is art for a gallery wall. There’s a bit of theory in it, about art as Activism, Empty-ism (high and low), and what he dubs his own Concept Pop:

You have a certain kind of Activisty art. It’s not going to change anybody’s mind. A pumped-up fist is like a slogan: it speaks to someone who already has certain inclinations anyway, not expected to bring new light to anyone. It fails on conceptual and aesthetic measures. If we look at what’s happening in contemporary arts here, there’s a lot of art that is not really about anything in particular. It just entirely focuses on aesthetic experiments and playing with materials. I call it “Art for Supervillains.” If you think about your standard Hollywood villain figure and what his house would look like if he had art in it, it’s probably going to be some of the art you might find in a Chelsea gallery. And then of course you have Street Art, or graffiti, right? So there’s a lot of tagging; people writing their names on the wall, or doing beautiful murals they can do with spray paint: they’re very large and they’re impressive technically speaking, and they’re not really about anything as well, right? So these are the major movements in the art sphere here. And it is a little disappointing or disheartening that there isn’t enough art that can experiment with a method but be about something in the process of doing that, right? Mine? I call it Concept Pop, and for me it’s just a way of doing art that can use these pop references, popular symbols, popular forms; but rather than do it for no reason, do it with an actual concept behind you — but of course in so doing it’s also very different from conceptual art which often tends to deliver concepts in a very bland, unaestheticized way, right. I feel like it’s an approach that occupies this particular mid-ground that I try to dance in a little bit.

Ganzeer could remind you of Ai Weiwei — another anti-authoritarian global humanist who lashes his fellow artists to be bolder, more notoriously defiant. But Ganzeer likes the irony in their different stances: Ganzeer sees himself as equal-opportunity offender. Ai Weiwei is a celebrity in the West for confronting the government in Beijing, “but he seems to be incapable or unaware or naïve enough not to do anything about the context here” in the States.

Ganzeer feels he was invited implicitly to follow suit: “becoming this avatar of some kind of resistance movement in some other country, right? But of course it’s a role that I completely refused.” And still, “almost every profile or review seems to focus on the Egyptian aspect of my work. A lot of artists fall into that trap, right? … It is easy for the artist to fall into… coming from this very interesting, exotic land, right?”