One of Aslı Çavuşoğlu’s earliest works, Dominance of Shadow, 2004, engaged with Istanbul’s increasingly privatized public spaces via eighteen billboards advertising an imaginary Hollywood film that the artist installed throughout the city. Her poster featured a collage of Renée Zellweger, a made-up blurb from the Washington Post, and other elements used in promoting blockbusters. Some of the billboards remained on public view for years.

Çavuşoğlu’s latest work pondered political graffiti, specifically that which promotes a similarly elusive objective: a Communist revolution. The show’s title, “