ARRIVAL, a magazine with a curatorial arm, has issued an open call for an exhibition in Brighton this October. The call is global in reach, though the presentation itself is sited in Brighton, a city with a longstanding if often underrecognized visual culture. The disciplines sought are deliberately porous: photography, painting, sculpture, documentary, dance, digital art, and illustration. This is not a medium-specific juried show but a cross-disciplinary proposition, suggesting that the curatorial logic will hinge on how works converse across categories rather than how they conform to a single tradition. What artists receive is, at this stage, unspecified. The call does not enumerate prizes, fees, or honoraria. It does not state whether selected works will be reproduced in ARRIVAL's pages, whether the exhibition will be documented, or whether artists will be expected to cover shipping or installation costs. These are material questions, and their absence from the public call is itself information: prospective applicants should treat the lack of detail as a prompt to inquire directly before committing time or resources. The deadline is likewise unstated, which places the burden of diligence on the artist. The curatorial vision, insofar as it can be inferred, appears to favor work that is legible across disciplines—work that does not require a specialist's vocabulary to register. Brighton in October is a specific context: the light is low, the season is transitional, and the city's cultural calendar is dense. An exhibition mounted there at that moment will be seen by a public that is neither purely local nor purely transient. Artists whose work can hold attention in that kind of space—neither white cube nor festival tent—are likely to be the strongest fit.