“Leap” captures the essence of movement, ambition, and hope. This high-quality giclée print combines JR’s signature photographic language with Vhils’ unique approach to materiality and texture. The image—a child reaching beyond his immediate reality—is elevated by Vhils’ sculptural sensibility, especially evident in the AP & RN versions, where paste-up elements create a layered, tactile depth. Printed on richly textured paper, this edition reflects the artists’ shared vision of resilience and transcendence, offering a striking testament to the power of collaboration and the enduring strength of human dreams.

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.

Underdogs celebrates the 25th of April with the launch of a special series of editions by seven Portuguese artists who, although they did not experience the revolution firsthand, grew up with its legacy deeply embedded in the fabric of society. This year marks 51 years since the Carnation Revolution — a historical moment that ended decades of dictatorship and restored democracy in Portugal. The works emerged from an invitation by Underdogs to engage in a dialogue with iconic photographs by Alfredo Cunha — one of Portugal’s most important photojournalists. With a sharp and sensitive eye, Cunha captured defining moments of April 25, 1974, immortalising expressions of freedom, confrontation, silence, and hope.

Each artist was invited to choose, reflect on, and respond to one of these images, inviting viewers to step into a portal through time and offering a new, personal reading of the past. Originally presented in the exhibition Portais do Tempo, held at the former Lisnave shipyards in Almada in 2023, these powerful works are now being relaunched as limited editions — produced in the same format and with identical margins. Each edition will be sold at the same price, making them accessible to a wider audience and reaffirming the importance of keeping alive the reflection on what freedom means, and what it continues to mean, today.

Fidel Évora reinterprets a photograph by Alfredo Cunha that the photographer himself describes as an image of peace — a calm crowd and stillness in the air. Yet, for Évora, the scene carries a different weight: the soldiers appear not as protectors, but as a barrier. Through collage, the artist fragments and reassembles the image, introducing new layers of meaning and tension. Evoking the end of colonial war and Cape Verde’s path to independence, the artist: more than fifty years on, are we moving forward, or simply repackaging the past?