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Sex for Dummy is a satirical yet deeply serious conceptual art project that exposes the contradictions between what societies claim to protect and what they choose to censor. In a time when discussions of sexuality, gender, and identity are increasingly restricted in schools and public discourse, this series proposes an alternative pedagogy that is at once humorous, disarming, and radically subversive.

The installation consists of ten small works made with colored markers on mirrors, mounted within frames and designed for presentation in restrooms. Each piece employs a minimal, almost childlike vocabulary—pink and blue caps, cartoonish gestures, naïve compositions—to destabilize entrenched binaries and cultural taboos. What at first appears playful quickly reveals itself as critical: a system of codes and symbols that questions how we are taught to “see” gender, desire, and intimacy.

By choosing mirrors as a support, Sex for Dummy implicates the viewer directly. The work is not merely observed; it is experienced as a confrontation with one’s own reflection. This strategy transforms the private act of looking in a restroom into a moment of public pedagogy. The bathroom becomes the last uncensored classroom, a place where art can still speak freely, precisely because it lies outside the sanctioned spaces of education and culture.

What distinguishes Sex for Dummy is its refusal of spectacle. There is no nudity, no pornography, no fetishistic imagery—only the banal presence of markers, a material associated with childhood, education, and innocence. This absence highlights the absurdity of repression: that abstract lines of ink can be considered more dangerous than the realities of violence, discrimination, and silence that pervade our societies. In this way, the project operates as institutional critique, exposing the fragile authority of systems that legislate morality while failing to protect lived experience.

At once satirical and pedagogical, Sex for Dummy stands as a commentary on art’s role in shaping discourse where official institutions retreat. It insists that humor and provocation are not diversions but urgent tools: weapons against censorship, hypocrisy, and fear. Ultimately, the series asks a simple but radical question: if we cannot speak about sexuality openly and honestly, what kind of future are we educating ourselves into?

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