Metro Boomin and Action Bronson are headlining Puffcon in October, and that alone is worth the ticket. But look further down the bill. More than a hundred glass artists will be there, and almost nobody in the art world will say their names out loud.
Puffco announced its lineup for Puffcon Block Party 2026 in late June, and the names at the top are the ones built to travel. Metro Boomin headlines Saturday, October 3. Action Bronson headlines Sunday, October 4. Underneath them sit Curren$y, The Alchemist and Boldy James, OhGeesy, BIA, TiaCorine, Jesse Royal and a dozen more, spread across two days at Los Angeles Center Studios.
That is a genuinely great lineup, and it is the reason most people will buy a ticket. Fair enough. What has our attention is somewhere else on the bill.
Buried further down the announcement, past Smorgasburg and the silent disco and the fifty-plus brand activations, is a line about the Glass Village: more than a hundred glass artists, from around the world, in one place. The roster reads like a phone book from a country that appears on no map. Alex Ubatuba. Cool Hand Suuze. Eternal Flameworks. Dopals Opals. Lissa Melts. Sky the Pyro. Wormhole. Zinalosi.
Those are working artists. Some have been on the torch for twenty years. Their pieces are one-offs, they trade on a secondary market, they appreciate, and collectors chase specific makers the way other collectors chase specific painters. There are dedicated auction sites. There are waiting lists. There are rigs that sell for more than a used car.
And there is not a single major American museum that treats any of it as contemporary art.
The Only Thing Disqualifying the Work Is What It’s For
Take a heady rig. Sculptural borosilicate, hand-worked, fumed with precious metals, millie work …
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Author: High Times / High Times
