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Drexel University’s Escape>Control>Play: The Art of the Video Game presents games as artworks, playable systems and social spaces. The free exhibition links experimental technology with queer history, political critique and the ways people build communities by making and playing together.
Why Drexel is treating games as art and civic spaces
The exhibition’s central argument is that a video game is more than a commercial entertainment product or a screen displaying images. It can be an artwork visitors actively perform, a system that models social rules, or a shared place where people negotiate identity and belonging.
Drexel describes the show as focusing on games as “sites of resistance, spaces to imagine alternative worlds and opportunities for collaboration.” 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.”
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1Repair Windows errors before they cause bigger problems2Scan for outdated or missing drivers - takes under a minute3Clear out junk files and repair common Windows errorsThe Pew Center for Arts & Heritage characterizes the project as an interactive exhibition about games as a means of community building, creative expression and social critique. The center awarded the project a $90,000 grant in its 2025 grant year.
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Talia Greene and Mark Stockton curated the overall exhibition. Temple professor Adrienne Shaw and Drexel assistant professor Ari Gass curated the queer-games section, bringing game history and representation into the show’s larger argument.
The three sections and featured works
| Section | Primary focus | Forms visitors encounter |
|---|---|---|
| Future Imaginaries | Alternative worlds, immersive storytelling and critiques of social systems | VR, games, sculpture and installation |
| Queer Games >> Histories + Futures | LGBTQ+ representation, memory and community formation | Historical games, contemporary projects and zine-related work |
| Collaboration->Community | Collective play, game-making and fictional spaces shared with others | Arcade games, cooperative play, VR and a public gaming lounge |
Future Imaginaries
This section asks how games and immersive media can help artists build worlds that do not follow familiar social or economic rules. Hsin-Chien Huang’s Bodyless is a virtual-reality work rooted in memories of Taiwan’s martial-law period, connecting embodied experience with political history.
Jeremy Couillard’s open-world game Escape from Lavender Island draws on David Graeber’s critiques of capitalism and debt. Its open-ended structure gives the exhibition a way to examine economic systems through exploration and play rather than through a conventional documentary.
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Lu Yang contributes Great Adventure of Material World and arcade works. The section also includes work by .Compost Co-Op, extending the idea of a future-oriented gallery beyond a single screen or genre.
Queer Games >> Histories + Futures
Curators Adrienne Shaw and Ari Gass trace how LGBTQ+ players and creators have used games to represent themselves, find one another and preserve histories that mainstream platforms often overlook.
The section includes Caper in the Castro, a game from the 1980s, alongside contemporary works connected to the Trans Game Zine. Placing these projects together makes the point that queer game culture has both a history and an evolving set of distribution and community practices.
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Collaboration->Community
The third section focuses on the social nature of making and playing. Bennett Foddy and AP Thomson’s Multibowl, Derek Yu’s UFO 50 and Erin Truesdell’s cooperative Haber Dasher present collaboration through different kinds of shared play.
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Brian Gibson’s VR games Thrasher and Thumper show how motion, sound and physical presence can change the relationship between players and a game system. A public gaming lounge and an artifact display were developed with Drexel’s game-design community, giving visitors a social setting rather than only a sequence of individual gallery stations.
When and where to visit
Escape>Control>Play: The Art of the Video Game runs from October 13 through December 12, 2026, at the Leonard Pearlstein Gallery in Drexel University’s URBN Annex, 3401 Filbert Street, Philadelphia.
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| Item | Details |
|---|---|
| Admission | Free |
| Tuesday–Friday hours | 12–5 p.m. |
| Saturday hours | 12–6 p.m. |
| Venue | Leonard Pearlstein Gallery, URBN Annex, 3401 Filbert Street, Philadelphia |
The listed hours are the gallery’s published schedule for the exhibition period. Check Drexel’s current event information before traveling because gallery hours and program details can change.
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The exhibition extends beyond the gallery through scheduled conversations and hands-on events:
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- 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.
Dates and formats are subject to change, so visitors should confirm the schedule with Drexel before attending a particular program.
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What kind of visit to expect
This is an interactive exhibition rather than a display of game boxes or concept art. Visitors can encounter playable works, arcade-style projects, virtual-reality pieces, installations and a gaming lounge. The combination means some stations may be watched while others are operated directly, individually or with a group.
The exhibition information identifies VR and playable installations but does not specify a required consumer headset, controller or other hardware for visitors to bring. Details such as station-by-station accessibility, seating, age guidance and reservation requirements are not stated in the published listing; contact the gallery if those factors affect your visit.
Why the Philadelphia setting matters
By placing experimental and historical games in a university gallery, Drexel connects game design with art history, media studies and community practice. The show’s three-part structure moves from imagining different worlds, to documenting queer game histories, to examining the social act of playing together. That progression treats technology as a tool whose cultural meaning depends on who designs it, who can access it and what kinds of relationships it enables.
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