"They're fucking us and we don't seem to care" (2024) is perhaps the most direct statement in the portfolio. The work is a mixed media sculpture: a steel letterbox mounted to a wall. Inside, a manifesto. How does one percent of the population own ninety percent of the wealth? Poverty exists not because we cannot feed the poor but because we cannot satisfy the rich. Elected governments are helping them. Therefore we are helping them. The text is blunt, unpoetic, and deliberately so. It reads like something shouted at a wall.

The letterbox is the interesting formal decision. "You've got mail," the famous AOL catchphrase, one of the original interfaces between the personal and the commercial, the inbox as the first point of entry for the outside world to reach you in your own home. What was once novel is now ambient. We no longer check for mail. It arrives constantly, unbidden, selling us things we did not ask for, telling us what to care about. The letterbox is a vessel for unsolicited information, and Mr Black has filled it with the one piece of information nobody is posting: that the system is working exactly as designed. COVID made this visible. Bezos' Amazon was declared an essential service. Rat tests expired on shelves whilst people queued for hours and fought over products in supermarkets. The concept of "essential service" extended not to health, food, or shelter, but to next-day delivery, to commerce, to capitalism. Centi-billionaires were cemented in society whilst the rest of us stayed locked inside. Mr Black's letterbox captures that delivery. It arrives at your door whether you ordered it or not.