In the Bakalar Gallery, The MIT List Visual Arts Center presents “List Projects 35: Pap Souleye Fall,” marking the solo institutional debut of the Brooklyn-based Senegalese-American artist whose multidisciplinary practice spans sculpture, installation, video, and performance. For the exhibition, Fall furthers DEAD PIXEL, an ongoing narrative in which technological malfunction becomes a site of refuge, resistance, and self-determination. The story’s protagonist, rendered in vivid green-screen green, evades THE DATA COLLECTOR—an avatar for data mining, predictive analytics, and algorithmic surveillance—by slipping into the “dead pixels” left behind when hardware fails. Organized by Assistant Curator Marina Caron, the installation features DEAD PIXEL perched atop a tomb-like structure built from quilted textiles, electronic waste sourced from MIT’s campus, and papier-mâché sculpture, which dissolves into an illusion of a real-space glitch when viewed at the right angle. Drawing on Fred Moten’s writing on fugitivity, as well as historical references like Underground Railroad quilt codes and the peanut trade of West Africa, the show threads a centuries-long lineage of resistance through a speculative, comic-book-inflected visual language, positioning it as a form of power.