It is without pleasure that I must announce that the door of the third bathroom stall to the left in Berlin Ostbanhof train station has chosen to participate in a virulent antisemitic hate campaign against me by slamming itself shut on my exposed dick, inflicting serious damage to my penile tissue, and causing the end of my dick to turn purple and swell alarmingly. While this attack was shocking, it was sadly not unexpected. Doors have a long and documented history of collaboration with far-right ideology. For instance, the Nazi architect Albert Speer’s designs frequently involved doors or door-like structures. This attack was clearly intended to evoke cruel and disgraceful antisemitic tropes: by mutilating my dick, the door alluded to the notion of the ‘castrated Jew,’ while also mocking the religious practice of circumcision.

This vile attack has forced me to withdraw from the bathrooms at Berlin Ostbanhof train station, where I can no longer allow strange men to fuck me in the ass. I encourage my fellow artists, writers, and curators to do the same. I suggest that the train station be demolished entirely, and replaced with a public showing of my 2014 artwork WHAT IS A TWIG, consisting of a black canvas printed with the words ‘what is a twig’ in a different shade of black. I have written to every company that posted advertisements in the Ostbanhof, asking them why they continue to support structurally antisemitic institutions. While I am still awaiting a reply, I am shocked that trains are continuing at stop at this station, literally platforming abuse.

It should be obvious why this is taking place. The violence against me has severely disrupted #TRUMPISARIGHTWANKER, a performance art piece in which I livestream myself gently masturbating for eight solid days to footage of my previous work, #TWOFINGERSFORTRUMP, itself a video installation that shows me masturbating to my 2017 intervention, #BUGGERTRUMP. (This last work, an extended touring project, was sabotaged by alt-right fascists who perforated one of my testicles with a kebab skewer.) My art aims to create a participatory, welcoming, and loving digital space in which the public is invited to take part in the process of artistic production by telling me how wonderful I am. As such, it’s a powerful rebuke against the politics of racism and division.

I wish I could say that this assault was an isolated incident. However, as a result of my courage in speaking up against people I don’t like, there have been multiple racist attacks on me and my work from within the art world in only the last 36 hours:

Instagram user “@squantblort” published a photograph of a frog sitting on a lilypad. The frog has an unfortunate association with the fascist ‘alt-right’ movement, which has repeatedly threatened, harassed, wedgied, and humiliated me. This image was ‘liked’ by CUNY adjunct Daniel Daintree, a supposedly ‘left-wing’ intellectual who clearly has no problem indulging in racist imagery. I demand that Daintree be fired.

Well-known New York artist Julia Klurpell had a dream about me in which I was a glob of tar floating in a gutter. Associating Jews with gutters, filth, disease, and sewage is a rancid and ugly antisemitic trope, deployed frequently in Nazi propaganda. Despite the art world’s silence on this utterly unacceptable dream, I’m brave enough to insist that there is no possible excuse for platforming racist harassment inside your own head. I demand that Klurpell submit to a full frontal lobotomy.

In the Crafts 4 Kidz workshop in Bridgewater, Nova Scotia, an eight-year-old boy failed to spin a bowl on a potter’s wheel, and said that ‘the Turner is stupid.’ Attributing personal failures to Jewish influence is a shocking and vile antisemitic trope. By allowing this child to remain on its premises, the Crafts 4 Kidz workshop has directly platformed hate speech and enabled harassment against Jewish artists. I demand a) a full and sincere apology from the workshop b) that the child be permanently deplatformed from Crafts 4 Kids, along with all other workshops, galleries, exhibition spaces, biennales, and places that look nice, c) that before he’s ejected the child’s ceramics are smashed in front of him, d) that all Crafts 4 Kids employees take turns stamping on the shards of broken pottery, and e) restitution of $1.6 million. Only then can the Crafts 4 Kids workshop begin to repair the damage wrought by its long history of complicity with fascism.

The Louvre is in Europe, a continent historically occupied by Nazis, and contains none of my works.