For Miami’s Locust Projects, the Handsome Wall Modelling School (HWMS) was proposed as a response to a white cube exhibition space that had never been visited. In the proposal, portions of the gallery’s walls were to be opened, merged, and unfolded, blocking the front entrance and asking that visitors walk around the entire block, through the parking lot and into the back alley in order to gain access to the show. A display system would then be inserted into opened portions of the walls, and workshops would be held to fill them with shameful objects. ____For the workshops, participants of varying ages and disciplinary backgrounds would be asked to bring objects that they were ashamed of, wrap them, and then place them within the display structures that had been built into the walls. At the end of the exhibition, the walls would be closed, returning to their previous state but with wrapped, shameful objects sealed within them. ___Based on the plan, the building’s construction, and the predictable turnover of nonprofit art spaces within the US, it was assumed that unlike a time capsule, the objects sealed within the walls would be unearthed relatively soon. While time-capsules generally contain documents of momentous human discovery, the workshopped objects were thought of as the opposite: cultural artifacts that we’re ashamed of, and don’t want people to see in the future. ___The proposal was never realized at the gallery; the Handsome Wall Modelling School now exists in miniature form, within a basement in Austria.