Pepenardo has reworked six copies of Bitcoin Journal’s 2036 Subject into unique artworks, drawing instantly onto the covers with a Sharpie. The hand-altered editions characteristic acquainted characters from his visible universe, together with the Sleeping Knights, beforehand exhibited on the BMAG Museum in Nashville and Bitcoin 2026 in Las Vegas. Different imagery consists of the masked rider of FAKEGENESIS, Dorian Nakamoto, and Pepe the Frog.
Every journal options the artist’s signature on its illustrated cowl and a further gold-ink signature on an inside unfold reproducing his portray THE DREAMER. Every is paired with two unique, one-of-one buying and selling playing cards created for the collaboration.
The challenge displays BTC Inc.’s rising curiosity in artwork, publishing, and collectibles, constructing on Pepenardo’s MEMETIKRON exhibition at Bitcoin 2026, the place THE DREAMER (RED KNIGHT) and THE DREAMLESS (GREEN KNIGHT) turned highlights of the BMAG auction.
The 2 oil work, every measuring 30 × 39.5 inches, depict reclining knights in crimson and inexperienced armor, referencing monetary markets and historic portraiture. Each bought for 0.32698802 BTC (roughly $26,500 every), attracting a mixed 197 bids. Their imagery now reappears in artist-made buying and selling playing cards that includes alternate colorways, remixed compositions, and painted by hand Creator Uncommon editions impressed by conventional textiles.
Amid a booming buying and selling card market, Pepenardo’s work bridges portray and handheld collectibles, the place shortage, provenance, and variation form worth. His relationship with this market started properly earlier than the Sleeping Knights.
In 2023, his portray FAKEGENESIS, a reinterpretation of Jacques-Louis David’s Napoleon Crossing the Alps that includes a masked rider on a inexperienced horse, bought on the Bitcoin Convention in Miami for 1.625 BTC. Initially created as a Pretend Rares card in 2022, the composition turned an early landmark for bodily Bitcoin artwork, demonstrating the rising collector curiosity in art work rising from Bitcoin’s meme tradition.
FAKEGENESIS later appeared on the again cowl of Bitcoin Journal, with prints accessible by the publication’s retailer. Its return as a hand-drawn journal cowl completes an uncommon development from buying and selling card to portray, printed copy, and unique collectible.
Bitcoin Journal itself has a accumulating historical past courting to its first concern in Might 2012, co-founded by Mihai Alisie and Vitalik Buterin. At a bitcoin event in London in September 2012, seven copies of the inaugural concern had been signed by greater than 20 early bitcoin figures. One attracted a successful bid of seven BTC, though the client by no means accomplished the acquisition or collected the journal.
Early points have since change into sought-after historic artifacts, with graded copies and uncommon editions attracting collectors. In 2023, Bitcoin Journal launched the Genesis Box, a restricted version of 21 collector’s units containing the publication’s first 22 points, every housed in protecting acrylic circumstances.
Very like early exhibition catalogs, first-edition books, and live performance posters, Bitcoin Journal has developed worth past its unique publishing function. Pepenardo’s custom-made covers lengthen that historical past, turning the publication itself right into a one-of-one art work.
I spoke with Pepenardo about his work, buying and selling playing cards, and evolving relationship with Bitcoin Journal, and with Mark Mason, Head of Media at Bitcoin Journal, in regards to the historic significance of the publication and its rising collector market.
BMAG: This collaboration got here collectively shortly after you observed the clean area on the duvet of the Bitcoin Journal concern that includes your work. What impressed you to show these magazines into unique artworks, and the way do you see them becoming alongside your work and buying and selling playing cards?
Pepenardo: I couldn’t assist however discover that welcoming clean area on the duvet. It appeared like an apparent place for a drawing. Coincidentally, I got here into Bitcoin by watching the power round buying and selling playing cards on Counterparty, from 2016 all the best way to the current. Hal Finney foreshadowed this ethos in his well-known 1993 e-mail titled “Crypto buying and selling playing cards.” After all he was speaking about digital collectibles, however the precept stays the identical. Bitcoin’s historical past has a magnetic pull on collectibles; individuals need to maintain on to a fraction of such an necessary trendy historical past. After we look again fifty years from now, the content material and the artifacts that got here out of the motion will assist future generations make sense of Bitcoin’s super timeline.
BMAG: The 2 knights, THE DREAMER and THE DREAMLESS, started as oil work exhibited and bought at Bitcoin 2026 in Las Vegas. They’ve since appeared in Bitcoin Journal and now as unique buying and selling playing cards with completely different variations. How does the which means of those characters change as they transfer between portray, publication, and collectible card? What guidelines information your remixed variations, and had been you shocked by how shortly the playing cards bought out?
Pepenardo: I used to be shocked at how shortly they went. I’ve no phrases. But it surely definitely reinforces that what I’m making an attempt to create and construct with my work has some worth. Having the ability to use the buying and selling playing cards as a approach to remix the unique works lets me enrich the life of every portray. The mediums are completely different – oil on canvas for the work, varied print strategies for the buying and selling playing cards – however the tedious care that goes into executing each is identical.
BMAG: FAKEGENESIS turned a defining work in your profession, shifting from Pretend Rares into an unique portray that attracted important consideration at Bitcoin 2023 in Miami. Trying again, what do you keep in mind about that second, and the way did it change your follow and the viewers in your work?
Pepenardo: FAKEGENESIS will at all times be the pivotal work that confirmed me how I ought to correctly method my artwork. I knew that even earlier than it bought. It’s a portray that embeds the tropes of Bitcoin’s ethos with out being too apparent. Artwork inside the context of Bitcoin shouldn’t need to throw a giant B at you on a regular basis; it ought to provide the fiery sensation of standing inside a brand new historical past being constructed. My hope is that it’s remembered as a piece that represents a whole motion – onwards and upwards.
BMAG: Bitcoin Journal’s earliest points have change into historic artifacts in their very own proper, from signed copies of Subject 1 and graded editions to the Genesis Field assortment. Even figures like Michael Saylor have signed covers that includes themselves for charity auctions. What provides these publications their enduring collectible worth, and the way do you see artist-customized covers like Pepenardo’s becoming into that historical past?
Mark Mason: For over a decade, Bitcoin Journal has documented the evolution of Bitcoin, from its early technical developments to the individuals and tradition surrounding it. We see every bodily concern as a time capsule, capturing a selected second in Bitcoin’s journey towards hyperbitcoinization.
One of many largest elements driving their collectible worth is that we by no means reprint previous editions. Every concern has a restricted print run, making a finite provide that has made early editions, graded copies, and signed covers more and more wanted by collectors.
Bitcoin has at all times existed on the intersection of know-how, economics, and tradition. Artist-customized covers like Pepenardo’s take that relationship a step additional, reworking an already collectible publication into an unique art work. It’s an extension of what Bitcoin Journal has change into: each a document of Bitcoin’s historical past and an artifact of that historical past itself.
Pepenardo’s customized journal covers and buying and selling card units bought out shortly after launch, with all six one-of-one editions discovering collectors. Further works stay accessible, together with MASTER CUTS OUT THE STONE (after Hemessen), the centerpiece portray from Pepenardo’s MEMETIKRON exhibition, which traveled from the BMAG Museum in Nashville to Bitcoin 2026 in Las Vegas.
Collectors may also discover FAKEGENESIS prints and the Genesis Box, a limited-edition collector’s set preserving the publication’s first 22 points from 2012–2014.
The Bitcoin Museum & Artwork Gallery (BMAG) organizes worldwide exhibitions, auctions, and artist collaborations exploring Bitcoin and its cultural implications. Discover accessible works from Curtis William Readel’s exhibition Paper Money, together with further prints, original artworks, and collectibles.
BMAG returns to Bitcoin Amsterdam, November 4–6, 2026, that includes European artists exploring cash, energy, and Bitcoin. Learn extra in The Architecture of Money and The Undercurrent. Use code BA26-BMAG20 for discounted admission.
