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What the exhibition sets out to show
The exhibition treats video games as more than commercial entertainment. Its central question is how play can become a form of creative expression, resistance, alternative-world building and social connection. Drexel describes games as sites where people imagine different futures, challenge cultural assumptions and collaborate inside both real and fictional worlds.
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Co-curator Talia Greene told WHYY, “We wanted to investigate video games as an art form but also think about the ways that people are using them for creativity, for acts of resistance, for opportunities to create community.” Mark Stockton is also a co-curator. The Pew Center for Arts & Heritage describes the project as an interactive exhibition about video games as a means of community building, creative expression and social critique; its 2025 grant to the project was $90,000.
The Leonard Pearlstein Gallery is presenting the show in Drexel’s URBN Annex, making the exhibition part of the university’s game-design and arts environment rather than a conventional display of framed objects.
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Three sections connect games, identity and collective play
| Section | Primary question | Forms visitors encounter |
|---|---|---|
| Future Imaginaries | How can games and installations help people picture other worlds? | Virtual reality, open-world games, sculpture, installation and arcade works |
| Queer Games >> Histories + Futures | How have LGBTQ+ players and creators used games to represent themselves and build community? | Historical games, contemporary works and zine-linked projects |
| Collaboration->Community | What happens when games are made and played as shared social activities? | Multiplayer games, cooperative play, VR, a gaming lounge and artifacts |
Future Imaginaries
This section combines immersive storytelling with physical and digital artworks. Hsin-Chien Huang’s Bodyless is a virtual-reality work rooted in memories of Taiwan’s martial-law period, connecting embodied technology with political history. Jeremy Couillard’s open-world game Escape from Lavender Island draws on David Graeber’s critiques of capitalism and debt, using a playable environment to question economic systems.
Lu Yang contributes Great Adventure of Material World and arcade works. Together with installations and sculpture by .Compost Co-Op, these pieces frame speculative worlds as something visitors can enter, manipulate and reconsider rather than simply observe.
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Queer Games >> Histories + Futures
Temple professor Adrienne Shaw and Drexel assistant professor Ari Gass curated this section. It follows LGBTQ+ representation and community formation across game history, pairing an early example with contemporary projects.
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1Clear out junk files and repair common Windows errors2Fix the driver behind crashes, sound loss and screen glitches3Repair Windows errors before they cause bigger problemsThe 1980s game Caper in the Castro documents a formative moment in queer game history. Contemporary works connected to the Trans Game Zine show how creators continue to use small-scale, community-oriented publishing and game making to tell trans stories and circulate ideas outside mainstream channels. The section asks visitors to consider who gets represented, who gets to make games and how communities preserve their own histories.
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Collaboration->Community
The final section focuses on games as shared activities. Bennett Foddy and AP Thomson’s Multibowl, Derek Yu’s UFO 50 and Erin Truesdell’s cooperative Haber Dasher foreground collaboration, whether players are taking turns, solving problems together or negotiating a common ruleset.
Brian Gibson’s virtual-reality games Thrasher and Thumper add an embodied dimension. A public gaming lounge and an artifact display were curated with Drexel’s game-design community, extending the exhibition’s argument beyond individual artworks to the social practices around making and playing them.
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What visitors can do on site
This is an interactive exhibition, so visitors should expect opportunities to play or operate selected works rather than viewing every piece behind glass. The mix includes arcade cabinets, screen-based games, virtual reality, installations and cooperative formats. The gaming lounge provides a less formal place to spend time with games and other visitors, while the artifact display connects finished works to the culture and labor of game design.
The exhibition information does not identify any consumer hardware that visitors must bring. Equipment and access arrangements are handled through the gallery presentation, but the gallery’s current instructions should be checked if you need specific information about accessibility, session length or VR participation.
When and where to go
- Exhibition: October 13–December 12, 2026
- Venue: Leonard Pearlstein Gallery, URBN Annex, 3401 Filbert Street, Philadelphia
- Admission: Free
- Listed gallery hours: Tuesday–Friday, 12–5 p.m.; Saturday, 12–6 p.m.
Hours are listed by Drexel and may not cover special-event changes, holidays or temporary closures. Check the university’s current gallery information before traveling.
Public programs scheduled around the exhibition
Drexel lists a series of talks and workshops that expand the exhibition’s themes:
- October 15: Opening reception.
- October 23: Live conversation with independent game designer Bennett Foddy.
- November 13: Alt-controller workshop with Erin Truesdell.
- November 18: Virtual-worldbuilding conversation held online.
- December 4: Community Q&A on queer games, platform censorship and alternative distribution.
Event times, registration requirements and delivery formats can change, so confirm each listing with Drexel before attending.
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Repair common Windows errors and clear accumulated junk for a smoother, more stable PC - no reinstall needed.Free scan · no reinstallWhy the show matters for Philadelphia’s game culture
By placing speculative art, queer game history and collaborative play in one exhibition, Escape>Control>Play presents a broad definition of game culture. A virtual-reality work can carry memories of state repression; an open-world game can critique debt and capitalism; a historical queer game can preserve community memory; and a multiplayer lounge can make the gallery itself a place for participation.
That range also gives visitors several ways to engage. People interested in contemporary art can approach the installations and sculpture. Players can spend time with arcade, cooperative or VR works. Visitors concerned with representation can trace LGBTQ+ game history and current trans-led projects. Game designers can connect the displayed artifacts and public programs to the processes behind finished games.
Quick Recap
How to plan a visit
- Choose a date between October 13 and December 12, 2026, using the Tuesday–Saturday hours listed by the gallery.
- Allow time for both the three exhibition sections and the public gaming lounge; interactive works may take longer than a conventional gallery stop.
- Review the day’s event listing before traveling, especially if you plan to attend a talk, workshop or virtual program.
- For VR, cooperative play or accessibility questions, contact the gallery or check Drexel’s latest visitor guidance before arrival.
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