Profiles of Brendan Fowlerr (1978, Berkeley, California) always start by saying he is best known as a musician performing (mostly, but not exclusively) as BARR. It does not matter if the profile (or review) is an art magazine like Frieze or a culture journal like Dazed and Confused, they always seem to lead with his involvement - his really deep and formative involvement - in an underground/D.I.Y/experimental music scene. Fowler's BARR project was a form of deconstructed pop music with hyper confessional, "heart-on-sleeve", sung/spoken lyrics and very hyper physical rformances melted the physical and ideological space between audience and performer. But now inlight of his emerging prominence in the contemporary visual art world with inclusions in important exhibitions and an expanding discourse around his artwork it seems as though this dynamic is ready for a shift. He is now just as often known as a visual artist who also had a musical/performative practice that is always running parallel and often in concert with his exhibitions and objects. One format of his creative output does not prefigure or pre-stage the other; the divergent forms are always upending and informing each other, creating a wonderfully productive feedback loop of the most joyful order.