The provocative collage master delivers his most ambitious work yet — and it’s pure fire

Artist. Instigator. Innovator.

There are NFT artists, and then there’s Slimesunday — a name that’s become synonymous with provocative digital art, fearless storytelling, and boundary-pushing innovation. Known for walking the razor’s edge between expression and censorship, Slimesunday has built a career out of asking hard questions in soft places — glossy magazines, polished platforms, and now, the hallowed halls of SuperRare’s Offline Gallery.

With Banned from New York, his latest and most ambitious solo exhibition, Slimesunday ascends to a new level — a complete and uncompromising vision that fuses physical works, NFTs, and immersive storytelling into one unflinching critique of modern censorship and creative suppression. This is not just a show. It’s a statement. And arguably, his greatest artistic achievement to date.

From Banned to Beloved: The Rise of Slimesunday

Based in Salem, Massachusetts, Slimesunday (Mike Parisella) made a name for himself by exploring themes too edgy for the mainstream. While social platforms regularly buried, flagged, or shadowbanned his content, audiences couldn’t get enough — his following exploded, and collectors quickly recognized the cultural weight of his work.

His surreal and often erotic collages have graced the pages of Playboy, Penthouse, Glamour, and Hunger, and he’s collaborated with major musical acts like Lana Del Rey, Beck, Katy Perry, J Balvin, and 3LAU, where he serves as art director and co-creator of the audiovisual project SSX3LAU.

In the NFT space, Slimesunday ranks among the top-earning crypto artists — not just because his work is controversial, but because it’s important. His pieces are as technically masterful as they are thematically bold, pulling from digital nostalgia, glitch culture, and raw human psychology. Whether you’re staring at one of his NFTs or walking past one of his wheatpaste works in NYC, the impact is unmistakable.

Banned from New York: A Career-Defining Exhibition

Slimesunday’s exhibition, presented by SuperRare and Roger Dickerman, spans the full spectrum of his medium mastery — physical sculptures, glitchy MP4s, wheatpaste panels, and digital-physical hybrids.

But what ties them all together? A singular theme: visibility vs. control.

“They don’t need to ban you,” Slimesunday says. “They just make sure no one sees it.”

MS Paint (2024) – $18,000

A deeply personal, physical tribute to his first digital art tool. The entire piece — carved in HDU and painted by hand — captures the exact palette and UI of Windows 98, turning nostalgia into fine art.

No Time to Kare & Winamp V6.9 – 5 ETH

Digital tapestries of broken pixels, dithering, and old forum energy. These are animated memories for the LimeWire generation.

Lady Liberty – Auction on July 31

A reimagined icon of freedom in a world of digital oppression. “Posting this hurts my reach,” he says. “But that’s why it matters.”

Weedman – $25,000

What started as glue, weed, and a Playboy ad became a layered commentary on cannabis, race, and incarceration. Backed by a $10,000 donation to the Last Prisoner Project, it’s proof that Slimesunday doesn’t just make noise — he backs it up.

Marked & Sunday School Dropout – $14k–$15k

Two wheatpaste-on-wood pieces that challenge religion, algorithms, and modern dogma. Sunday School Dropout was so controversial it was pulled from a prior gallery. Slimesunday didn’t flinch — he doubled down.

Squares Series (2024–2025)

Inspired by David Hockney, these deconstructed prints blur nudity, censorship, and composition into elegant chaos.

Roll Model – 3 ETH

The birth of Weedman in visual form. A chaotic, raw capture of the artist’s process in its purest state.

The Power of the Provocateur

Slimesunday doesn’t just comment on censorship — he experiences it firsthand. Whether it’s being shadowbanned on Instagram, throttled by opaque algorithms, or cut from a gallery last-minute, he has lived the tension that defines his work.

He’s not chasing likes. He’s chasing truth.

“Religion was the original algorithm,” he says. “Now the church is digital… and the priests wear Patagonia vests.”

This isn’t just edgy rhetoric — it’s the lived experience of an artist creating in a time when platforms, not people, decide what is “acceptable.”

The Offline Gallery: Where Digital Meets Real

SuperRare’s Offline Gallery in NYC is the perfect venue. More than just a space, it’s a proving ground for NFT art’s cultural legitimacy. And with Roger Dickerman and 24 Hours of Art behind it, the platform is set for this moment to resonate beyond crypto — into the larger cultural conversation.

Fireside Chat with RD – July 31, 6–7PM
Opening Reception – July 31, 7–9PM

Final Thoughts: This Is the Moment

With Banned from New York, Slimesunday isn’t just showcasing his best work — he’s cementing his legacy. This is the culmination of years of resistance, experimentation, and raw, unfiltered creation.

This isn’t art that asks for approval. It dares you to look, to question, and to feel.

And that’s exactly what makes it so powerful.

TL;DR

Slimesunday’s Banned from New York exhibition is the most important work of his career — a visceral, multidisciplinary exploration of censorship, nostalgia, and artistic resistance. With backing from SuperRare and Roger Dickerman, this show blends physical and digital mediums in a way only Slimesunday can, and solidifies his place as one of the most essential artists in the NFT and digital art landscape.

Anthropic is secretly working on new models called Claude Sonnet 4 and Opus 4, which are believed to be the company’s most advanced AI models.

This is according to Anthropic web configuration files, which were recently updated with references to Claude Sonnet 4 and Opus 4.

As you can see in the above image showing the internal configuration file, Anthropic has specifically mentioned “Claude 4,” “Claude Sonnet 4,” and “Claude Opus 4.”

These appear to be part of the Claude 4 series, which we think could be Anthropic’s smartest models yet.

The references suggest Claude Sonnet 4 and Opus 4 are being tested or promoted internally, with some warnings like “Not intended for production use” and “strict rate limits,” meaning they’re still under development or early access.

There are also references to features like “show_raw_thinking,” which point to reasoning capabilities.

On May 22, Anthropic is hosting a ‘Code with Claude’ event, but we don’t know if the event is related to the new models.