8468

@GmanPoker @DougPolkVids @LodgePokerClub We need this

@DougPolkVids I would not like to play. Instead, you, me, and 2-3 mouth breathers play 5K live hands @LodgePokerClub stream. Whoever wins more/loses less gets a large bounty and we settle this GTO vs exploit thing once and for all.

Officially announcing my new HUNL open challenge. If you can beat me over 5,000 hands at 100/200+, you win a 25k bounty. Challenges will take place over 3 days. Each match I win increases the bounty by 25k. If I win 3 in a row, the 4th and final match will have a 100k bounty. Open to all US/Canada players who can play on Club WPT Gold. I will select opponent each round based on who will make the most compelling match for viewers. Who do you want to see me play?

@bp22 How do you feel about glp1s?

Obesity Inc.

GameSquare has acquired the iconic Cowboy Ape #5577 CryptoPunk from DeFi pioneer @rleshner in a $5.15M strategic investment. We also added $10M of ETH to our treasury, bringing total Ethereum treasury holdings to over $52 million.

@VinnieHager Owned by pervertlord

✉️opensea.io/item/ethereum/…

Just Wait Till Next Year (Letters 2021)

@jeffplatt @VictoriaL_64 @WSOP @NickSchulman This is so good

Without a doubt, the moment of the 2025 @wsop so far... The only question now would be...will it be topped? @NickSchulman pokernews.com/tours/wsop/202…

@DrifterShoots Looks great! Just ordered.

Hi guys I was hoping to announce this the other day before everything happened. My first art book is finally here, thank you to all who waited. Preorders are available at my website. There will only be 1200 copies total. Link below.

@Petitcailloueth #ranchgang

So, I did a thing. Yeehaw! 🤠

@Bushleafs @punksOTC Over 400k

@punksOTC What is the most in dollars that the floor has ever been?

Only 308 punks until 200k floor

@MikeMcDonald89 I'll give you 8/1

What odds can I get against us breaking ATH within 1 hour of us breaking 100k?

“Shiftwork” by Grant Yun Riven exemplifies his distinctive style of vectorized realism, a term he uses to describe his transformation of photographic references into precise digital compositions. Yun uses his phone and film to gather references before reconstructing them digitally to match the ideal compositions he envisions. This bridge between real-world observation and digital reimagination underscores the deliberate nature of his art. Grant builds on the early 20th-century tradition of precisionism—which celebrated industrial and urban geometry—by adding a digital layer he calls neoprecisionism. Using vector tools, he achieves an immaculate control over angles, lighting, and structure, creating compositions that feel both mechanical and deeply human. Grant sees his role not just as a creator but as a documentarian of the present. By focusing on overlooked urban and suburban spaces—offices, escalators, lobbies—he is preserving the architecture of daily life for future eyes. His work functions like a time capsule for the built environments we now take for granted. This transitory space, usually bustling with motion, is rendered in a moment of perfect stillness to create an almost spiritual atmosphere, inviting viewers to reflect on time, labor, and the in-between spaces we inhabit. ——— At first glance, “Shiftwork” presents a quiet, unassuming scene: a janitor cleaning beside escalators in a sterile, modern building. Yet beneath its minimalist surface lies a complex meditation on modernity, memory, and the role of the artist as a 21st-century historian. By removing noise and clutter, Yun presents this modern environment as eerily pristine to evoke both a sense of nostalgia and detachment—hallmarks of the 21st-century digital condition. The near emptiness suggests quiet reflection or alienation. It feels like a moment of pause in a place meant for movement—an airport or transit hub—where time usually feels compressed. This work is an effort to “document observations of the everyday.” But in doing so with such care, precision, and intentionality, Grant doesn’t just reflect the world—he reinterprets it, offering a quiet, mathematical poetry that asks us to look again at the spaces we move through, and the people we often don’t see. The palette is subdued—beiges, chromes, and soft blacks—echoing the quietude of corporate and transit environments. The ceiling panels, reflections on the floor, and the composition of the escalators are rendered with geometric precision, creating a scene that is both realistic and abstract. Every element is reduced to its essence. The floor reflections and ceiling lights are flattened into geometric shapes, removing distractions and heightening the meditative stillness of the scene. The central perspective draws the viewer’s eye directly toward the janitor and the escalators, emphasizing solitude and symmetry. There’s a contemplative void created by the empty space and the absence of bustling crowds. The janitor, central to the composition, is not merely a background figure. He is the focal point—quiet, absorbed in his task, and bathed in soft light. Yun dignifies his labor, drawing attention to the human presence in environments often designed to feel impersonal. By placing the janitor in the spotlight, literally and compositionally, the image invites us to consider the overlooked: the people who maintain the environments we pass through—to consider their thoughts in such moments of solitude. There’s a quiet nobility in the act of cleaning, framed with as much care as this portrait. The setting—a hyper-clean, overlit, empty transit space—speaks to modern isolation, automation, and the liminal spaces we occupy between destinations. This piece is a masterclass in how restraint and simplicity can produce depth and provoke introspection. It asks the viewer to slow down, to notice the unnoticed, and to find meaning in the mundane.

A deeper look at SPACES w/ auction to go live this Wednesday 4/30. In a time where we are witnessing an era of hyper-digitization: 1. I felt it imperative to use these tools in my artistic practice. 2. Address these themes and issues for us to all reflect on.

@garyvee Would love to join!! opensea.io/idocs opensea.io/PhillyNFTvault

looking for serious NFT collectors who are looking for a community and something to collect after being part of too many rugs .. pls share if u are youre a serious NFT collector :) too many ai bots and flippers replying

Fellowship Presents: ‘SPACES’ by @GrantYun2 Fellowship is pleased to introduce SPACES, a new body of work by artist Grant Yun. This collection shows how Grant examines how rapid shifts in technology—AI, remote work, and automation—are transforming our understanding of physical space, labor, and memory. With this collection, we also see Grant's work maturing and consolidating while continuing to experiment with process and subject matter. We are honored to see Grant's growth through the development and release of this special collection. ✨ Physical Exhibition: April 30 – May 16, 2025 in Notting Hill, London 🔗 RSVP ✨ Online Release: May 1, 2025, at 1PM ET 🔗 fellowship.xyz/exhibition/spa… ✨ 20 artworks → 1/1 NFTs → 24-hour auctions with Ξ0.1 reserves ✨ Prints available → 3 + 2 AP print editions → Edition 1/3 reserved at cost to NFT holders

@DeeZe Ah.. Florida Wawa

@punk8468 fucked me over multiple times during art basel

This is some of my best work ngl

@justinaversano @Santa1573 @MeebitsNFTs @sergitosergito @1confirmation Great ones!

Acquired 3 more @MeebitsNFTs because I support and have faith in @sergitosergito & @1confirmation integrity, passion, and leadership to expand this project with love.

We’re all about community, and we want to get to know you! If you’re !meebin, drop your Meebit below and let’s connect. We’ll hit that follow button and keep the vibes rolling!

@Zeshawnluc Beautiful. Congrats!

Let's go @sergitosergito

@burnttoast Lets go!! ● - ●

who wants a doodle?? rt, comment ● - ●, and follow me so I can dm you if you're chosen. you can unfollow me after, all good