Joshua Schwebel works between event and document, catalyzing disruptions through techniques of public intervention, forgery, and mischief. His work exists between rumour and fact, between an event (that may have been missed by the gallery spectator) and a falsified, uncertain or absent document. Schwebel plays with the designation of something as art. He is interested in relations of exchange and valuation, expectation, and (mis)communication. He is compelled to poke his finger into the loopholes that art permits.

Schwebel's materials and processes are responsive, and vary according to the particularity of the context. Through a particular action, he attempts to crystallize tensions inherent in a certain system of expectation. His work can be understood through traditions of institutional critique, conceptual art and relational aesthetics.