Evil Biscuit: Drifella III #1110, 2025clDrifella and Drifella II are NFT collections released by the artist known as Evil Biscuit that use the familiar format of the profile-picture NFT, or PFP, while also breaking it apart. A silhouette of the titular character—part boy, part cartoon dragon—appears and disappears across iterations, borrowing the head-and-shoulders composition popularized by CryptoPunks and Bored Ape Yacht Club while stuffing it with unrelated images, textures, and texts. The image gets congested, swollen with traits.In Drifella III (2025), this excess expands into space. Each work shows a triptych installed in a room. Cartoon faces, abstract scribbles, and smeary Photoshop gestures hang in rococo frames or appear bare, as JPGs dropped directly into a virtual gallery. Grimy wallpapers and stock textures skin the walls and floors, where small collectible toys linger beside the paintings, like guards or familiars. Sigils and quasi-linguistic marks drift through the scenes, inviting viewers not to contemplate but to zoom. The works operate at multiple scales. Each one is simultaneously a picture, an environment, and a container—cute and diminutive, yet aggressively rich, too full.One way to see Drifella III is as an image of categories dissolving. Collectibles melt into art; art melts into collectibles. The two no longer sit apart or in productive tension but absorb one another. This collapse resonates beyond NFTs. In a column published last winter, Annie Armstrong sounded the alarm about “red-chip art”: present-focused, fluent in the language of toys and collectibles, and indifferent to the values that structured 20th-century high culture. Evil Biscuit clearly loves collectibles, but his relationship to them also feels arch and critical. The density of texture, play, and reference in Drifella III keeps alive the memory of an avant-garde, even as it relocates that impulse to a different cultural system.Drifella III is especially useful for thinking thr