In an era which has come to be defined by “fast” images the artworks of Benjamin Kellogg and Connor Crawford seek to slow down the speed at which digital imagery is consumed, forcing us to recon with the permeation of western cultural goods and iconography into globalized narratives of futurity and the post- human condition. Kellogg, applying the logic of the conspiracy theorist assembles images that collide the politico-media complex with hermeticism: repurposing found vector graphics to engage in ancient questions regarding the reciprocal relationship between power and the images that disseminate and reinforce its claims. Crawford, similarly engages iconographic imagery of the present (as reproduced in digital spaces) to create relics of a speculative future. Tracing the downfall of a civilization, potentially our own, Crawford reflexively engages the activity of “world-building” to suggest at the latent possibilities dormant in the objects of mass media culture. Both the bodies of work on display in Prophecy Club can be understood as attempts to reconcile the relationship of understood forms of symbolic production with the hyper-active images of the contemporary western media landscape.