How the WTC Towers Were Prepped for Demolition?

A large group of artists were given space and construction access to the World Trade Center in the four years leading up to 9/11.

E-Team (Hajoe Moderegger,

Franziska Lamprecht, Dan Seiple)

127 Illuminated Windows

March 2001

I want to call your attention to the artist groups (E-TEAM and GELATIN) who were selected to be part of the Lower Manhattan Cultural Council (LMCC) World Views / Studioscape (slow link) programs that allowed them and other artists to work and live in the WTC in the four years leading up to 9/11 on different floors, including 91 and 92 of the North Tower. Additionally, they were given seven day a week construction access to the WTC that allowed them to freely move all sorts of materials in and out of the complex. (Note: When you give young artists access to a building and work-live space, they’re going figure out everything they can and can’t get away with in there. I’ve lived in several wild artist buildings and from my experience, once they’re in, they can get anywhere they want...especially with climbing gear & harnesses...see photos below. LMCC and WTC management would know that before approving such a program. For artists to be able to take out windows on the 91st floor and install a makeshift “balcony” (see the NYTimes, August 2001) protruding out of the building should give you some real insight into just how lax WTC security was at that time and how dangerous the LMCC program was. Sounds to me like the WTC was conveniently out of control in the years leading up to 9/11 and that security there was a complete joke as far as these artists and all their friends were concerned...see photos below.)

As you may know, audacity, arrogance and a love of esotericism (“it’s a great piece of artwork...you just don’t get it”) are common features of the art world, especially among privileged and highly connected, younger artists. Therefore, I think it is plausible that the E-Team might also stand for Explosives Team (amongst themselves, their handlers and sponsors) and that Gelatin’s The B-Thing may also be, not so secretly, referring to explosives (see blasting gelatin & note that Gelatin became Gelitin in ’05...wonder why?). Keep in mind that we gave these foreign groups WTC construction access and allowed them to live directly in the strike zone through the LMCC World Views and Studioscape programs. They would probably look upon most of Americans as complete idiots and that their work was highly sanctioned by the people in charge. And as incredible as it might sound, I think it is very possible that the “team” (that included many others) may have advertised itself in a major way to their special audience under the cover of “art”, right on the WTC strike zone just before 9/11 (see 127 Illuminated Windows).

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