Excogigirls.24.07.10.bella.nova.megan.marx.and....

The open ending allows for future members (new “girls”), new agendas (new “ex‑co” projects), and new identities (perhaps a “Marx Jr.”). It is a reminder that any social formation is dynamic, especially in a time when online platforms were rapidly mutating.

Megan “Megs” O’Hara grew up in the suburbs of Chicago, an environment saturated with graffiti, skate culture, and the burgeoning street‑art scene. With a BFA in Graphic Design, she later pivoted toward motion graphics and augmented reality (AR). Megan curates the visual identity of the ExCoGiGirls, designing everything from album covers to immersive AR installations that appear on participants’ phones when they stand before specific city landmarks. ExCoGiGirls.24.07.10.Bella.Nova.Megan.Marx.And....

Key Works

Megan’s aesthetic is built around contrast: the soft pastel palettes of early internet culture clash with harsh industrial textures, mirroring the dichotomy between vulnerability and resilience in the group’s narrative. The open ending allows for future members (new

“Nova” translates to “new” in Latin, but in astronomy it designates a sudden, brilliant flare. As a moniker, it conveys rebirth and visibility. Within the collective, Nova may have been the member who introduced fresh ideas, or perhaps the one who “burst onto the scene” during a pivotal discussion. Megan’s aesthetic is built around contrast : the

July 2010 fell squarely in the post‑Web 2.0 era: smartphones were becoming mainstream (iPhone 4 had just launched), social media was shifting from MySpace to Facebook, and the Arab Spring was on the horizon. For many adolescents, this was the first time they could instantaneously broadcast a personal narrative to a global audience.