The Dead White Zombies collaborated with artist Loris Greaud and the Dallas Contemporary Museum on an opening-night performance that destroyed Greaud's The Unplayed Notes Museumexhibit. The destruction of art valued at over half a million dollars created a stir in the art community. 

Midway through the exhibition, museum-goers were ushered outside while officials loudly warned them to “exit through the glass doors.” This, of course, ramped up the ambient vibe with a bit of panic, and the crowd reacted in diverse ways. Some laughed while others became angry — and not a few people were horrified that some of the art they had previously viewed was being destroyed. Even as the crowd was being dispersed, towering cherubim were blown apart, paintings were ripped from walls, and general mayhem ensued. This, of course, is a first in the museum world — and, thus, Dallas has become an epicenter for international cutting-edge art and the concerns it constellates.

—Paper City

On the opening night of The Unplayed Notes Museum, Loris Gréaud’s first solo museum show in the United States, guests sauntered around the Dallas Contemporary until a group of people, up to that moment hiding in the crowd, descended upon the art, ripping it from the walls, breaking it into pieces. Sirens blared as the museum staff herded the crowd out of the building. The opening was over, although the bar out in the parking lot kept serving for another hour. The damage was real, but it was not accidental. By installing a museum’s worth of art, destroying it in a semi-official performance—there were some murmurs—and then allowing the public to wander through its ruins, Gréaud sought to create a museum of irresolution, a hazy landscape in which the viewer cannot see every edge from any single point.

—Brooklyn Rail