Resembling the impressive human capacity for adaptation – which can seem either a great virtue or a massive defect –, Kampus’ agile and astute amoebic figures fit into any corner. This edition turns his character into a container for pouring kindness. As the artist says, it is “dusty and old, rarely used.” How often do you nurture your relationships with your kindness pot?

Emerging from Amanda Lobo’s visual universe, this edition reflects on the construction of the self as both exposed and protected. Figures take shape through layers of detail and ornament, forming a kind of external armor: a surface that both conceals and safeguards an inner core. Drawing from her language of fantasy and exaggeration, the work transforms vulnerability into structure, where decoration becomes defense, and identity is held in tension between what is shown and what is kept intact.

Speto is one of Brazil’s most influential street artists, and a true pioneer of graffiti in Latin America. Born and raised in São Paulo, he began painting in the late 1980s, when graffiti was still emerging in Brazil, and quickly became known for a style that combined bold lines, vibrant colors, and references drawn from Brazilian culture.

Throughout his career, Speto has built bridges between different worlds. His art is deeply rooted in Brazil, but it also connects with American influences such as hip hop, pop, and urban culture. Music plays a central role in his practice, shaping his rhythm, his compositions, and the energy of his works.For this edition, Speto turns to his own heritage and the women who have marked his personal story.

"Carmelita" presents a powerful Brazilian woman as its central figure. She is strong, almost mystical, and her dress carries an indigenous-inspired pattern that speaks of ancestry, tradition, and resistance.The work celebrates not only femininity but also the resilience of Brazilian identity — an identity that has always been built in dialogue, between past and present, between local roots and global sounds.

In the early days of graffiti, the ultimate flex in the scene had a name: wholetrain. To paint not just a single carriage but an entire moving vessel from end to end was a feat of scale, coordination, and audacity. Emerging in late-1970s New York, the wholetrain became a rite of passage: it was a moving celebration of collaboration between different artists, friendship, adrenaline, and sheer artistic nerve. When a wholetrain rolled into a station, everyone stopped. It was that powerful.

This spirit of collective creation, risk, and improvisation is the foundation of WHOLETRAINS, a project initiated by Alexandre Farto aka Vhils. He invited close friends, long-time collaborators, and some of the most important graffiti artists today — Barry McGee, OSGEMEOS, and Revok, who in different corners of the world, also grew up working on trains — to take this legendary spirit and twist it into something new. Instead of steel and subway tunnels, the structure unfolds on a long sheet of paper mapping the outline of a real train from Portugal’s Sintra Line.