(Mexico City, 1998-1999) was a zine that began and ended on International Workers’ Day, with its first release May 1, 1998 and its last May 1, 1999. Casper: Revista de título mutable (Casper: Magazine with A Changeable Name resurrected images and texts by artists and thinkers from both the local and international scene, and paired these works with drawings, stickers, lithographs, and posters. In doing so, Casper explored the tension of the culture of copying inherent in zine culture. However, Casper took this one step further by illegally reproducing printed matter in an attempt to challenge intellectual property laws and notions of access to information. Throughout its thirteen issues, Casper reproduced what already existed and, at the same time, reinvented itself through each new issue with a different theme based on anagrams of the letters in its name. The last pages of the final issue, published in 1998, feature “Caspermanía!”, an array of products from t-shirts for dwarves to lighters to ghost-shaped paperweights, which were available for sale in 1999 in a booth designed by Damián Ortega for the gallery Art & Idea at the ARCO Art Fair. When galería kurimanzutto was invited to the 2002 Gwangju Biennale, they, in the spirit of Casper, created an installation and project staffed by gallerist Jose Kuri and Damian Ortega to extra-legally reproduce the Biennale’s catalogue. In 2004, the members of Casper started a bonus issue, which still remains unfinished. Casper makers include Luis Felipe Ortega and former Temístocles 44 participants Daniel Guzmán, Gabriel Kuri, and Damián Ortega.