Using the original documentation of his talk Price has manipulated footage through editing, overdubbing and interspersing new and archival content. With each innovation the work has grown, incorporating new themes to form a collaged filmic essay and philosophical inquiry that merges fiction, non-fiction, documentary and performance. 

Deliberately ambiguous and evolving without narrative or compositional restraint, recent versions of Redistribution have increased in autobiographical intimacy through diaristic interventions. Transcending mediums, generations, personal and shared histories and an expansive catalogue of subject matter, the work remains untethered in both form and content. Interwoven references and theoretical material span art history (from Palaeolithic cave paintings to Renaissance allegory); consumer culture (from trends in fashion to plastic production); seismic cultural events (from 9/11 to COVID-19); digital technology (from computer graphics to the rise of the internet); and photography and videography (from footage of Price’s early years in New York to time spent at his house in the woods).

As Price and audiences of Redistribution simultaneously browse his archive over the years, he reveals parallel histories that conflate concerns of reproduction and authorship in art with everyday life. By generating new meaning through repetition and difference, the work exceeds its function as an artwork, becoming a meditation on plasticity and on how the past, present and future remain equally in flux and capable of renewal.