The exhibition "Genuine Fake Premium Economy" at a London gallery features works by American artists Jenna Bliss, Buck Ellison, and Jasmine Gregory, all born in the mid-1980s. Their pieces—including Bliss's shaky videos of New York's financial district, Ellison's fictional bank advertisements pairing classical paintings with cynical taglines, and Gregory's luxury watch ads stripped of watches—collectively express millennial rage at a rigged financial system and the aftermath of the 2008 crash.
This review matters because it captures a specific generational frustration with economic inequality and the art market's complicity in elitism. The show's bitter, resentful tone reflects a broader cultural mood, making it relevant beyond the art world as a commentary on privilege, capitalism, and the daily grind faced by many.