LAST HERO — 2018 (ongoing)

An evolving response to how the public drug dealer crystallizes fears, temptations, and desires, while embodying the shifting limits of control and solidarity in places as different as Manila and Berlin. The work began as a collage in the 2014 Berlin exhibition “The Third Wall and Last Hero” followed by a 2016 proposal with the Pirate Party for a monument to dealers in Berlin. In 2019 the “LAST HERO” statue was presented in the 2019 Vienna exhibition “DEALER POSES” and its circa three meter portable version was installed in Görlitzer Park, Berlin, for the art action, “24-HOUR PARK DEALER SOLIDARITY SIT-IN”. Further actions in Hamburg, Bremen and Paris are planned. The statue is scheduled for presentation in a major Berlin museum in 2020.

Other Homelands — 2017 to 2018

African-origin immigrants have become the public face of park drug dealers in Berlin as well as in other cities across Germany and Europe. In this work, an ongoing exhibition and research project, Holmquist seek to create an aesthetic and political tension between the social realities in the German media and the physical realities of individual bodies, in space. Other Homelands was one of the most discussed exhibitions in Berlin and Germany at the end of 2017. It triggered a debate about artistic freedom in public institutions and how to deal with drug sellers in public space.

Humboldt Area Peoples Archive — 2016 (ongoing)

Holmquist's focus in this project is to collect and conserve documents for public use related to activism and art for social justice, peace, and the environment, as well as of back-to-the-landers' and cannabis growers' lives in and around Humboldt, Trinity and Mendocino, California counties. The Archive was founded in early November 2016 by retired Humboldt State University archivist Edith Butler and Holmquist, later joined by Southern Humboldt community leader Douglas Fir and Arcata, California, activist Richard Salzman and geographer Dr. Dominic Corva. It became a 501(c)(3) nonprofit in late 2017.
Genocide and Vendetta — 2012 (onging)

In 2012 Holmquist began working to bring a suppressed book back from its early grave. Genocide and Vendetta: The Round Valley Wars of Northern California (University of Oklahoma Press, 1981), unpacks one of the darkest chapters in California history: the literal genocide of Native Americans by European Americans in Round Valley, CA, in Mendocino County. In 1987 the publisher destroyed the copies of Genocide and Vendetta remaining in its inventory and withdrew it from publication. Since then the book has been reproduced illegally and sold and distributed as contraband. Its withdrawal was the result of settling a suspicious charge of "unintentional" plagiarism that inspired a variety of conspiracy theories.
Low Tide Archive — 2011 (ongoing)

Low Tide is an art and archive project assembling and disassembling a comprehensive survey of visual Humboldt Bay (California, USA) histories for public re-presentation and preservation. As an act of preservation, this work is against the delusion that everything will be online. It is also an experiment in representational decomposition, dreaming of magical outcomes that reveal, or hint at, an utterly decolonized geography.
chronic freedom series — 2006 (ongoing)

The series of five artist books, chronic freedom, dirt, light, 3 books and Big Drug Factory – Unfound, represent a single work and unified attempt to survey, collect and interrogate traces of the histories comprising the back-to-the-land and marijuana production worlds as they evolved in Southern Humboldt County, California, from the late 1960s through 2010.
Blind Eye Projects — 1999 to 2003

With the blind eye projects Holmquist assumed the persona of an invented media revolutionary, willy mal, who sought to make and promote art and media that would not only deflect the interest of any audience but actually subtract net ambient stimulation. Work that proposed nothing less than to completely reverse the historic logic of communications media and art. As willy mal, Holmquist wrote a manifesto that incited the what he called, "The most important failed art movement of our time."