Are We Cool Yet? is an artistic movement existing on the fringes of the international avant-garde, with roots in the early surrealist art movements of the late 19th and early 20th century and the growing scientific understanding and study of the anomalous that began to develop during that time. (For one man's account of how the movement came into its own, refer to the contest entry tale "Birth of the Cool".) The movement has no centralized leadership, no headquarters, very few traditions or conventions, and no official membership roles or requirements - the only thing one need do to call oneself a member is to make art that employs, exploits, or revolves around anomalous objects, beings, or phenomena.
The organization of an AWCY? cell varies wildly from place to place. Many groups are organized into small salons led by a creative mastermind or a professional critic, while others are collectives with no clear leader, and some members prefer to work entirely on their own. In the opinions of some, it is not even necessary to know that the movement exists in order to be a part of it. The tendency of some such groups to produce highly visible public artworks that cause death, injury, or lasting psychological harm has led some to decry the entire movement as a bunch of "art terrorists", a label some of its members wear with pride, some repudiate entirely, and some wear ironically.
The largest and most visible gathering of AWCY? artists in any place or time is "Sommes-Nous Devenus Magnifiques?", a grand exhibition held every ten years since 1874, at which those "in the know" can gather to view and scrutinize a selection of some of the finest works in anomalous art produced over the previous decade. To have a work accepted is considered (by those who care about such things) to be one of the greatest achievements an anartist can attain in a career, and members of cells all around the world petition to have their works displayed.
"The Treachery of Euclids" is a parody incorporating elements of a photograph by Keisuke Yamamoto of the work "Untitled 2004" by Izumi Kato, and the painting "La trahison des images" by Rene Magritte. All rights are reserved by the artists.
A note of caution: SCP-173 is a secondary use of the image of the art piece "Untitled 2004", which was created by Izumi Kato. The concept of SCP-173 does not have any relationship with the artist's original concept of "Untitled 2004".
The sculpture, its likeness, and the photograph have not been released under any Creative Commons license. Only the text of this article is released under Creative Commons. This sculpture and its likeness may not be used for commercial purposes under any circumstances. Izumi Kato has graciously chosen to allow the use of the image of "Untitled 2004" by the SCP Foundation and its fanbase for non-commercial purposes only.