Ever wonder what it would feel like to step into a West Palm Beach time machine? At Beth Rudin DeWoody’s The Bunker Artspace, all it takes is walking into an unused elevator.

Hidden inside the building, All Tomorrow’s Parties (Bungle in the Jungle) (2016, 2025) transforms a discarded elevator into a fully immersive artwork by artists David Allen Burns and Austin Young (Fallen Fruit), co-curated by Maynard Monrow and Laura Dvorkin. The result is a glowing, hot-pink portal that feels part photo booth, part tropical dreamscape, part historical hallucination. 

Built from photographs taken in West Palm Beach just after Hurricane Matthew in 2016, the installation layers fragments of edible flora found in public spaces, from banana plants and coconuts to sea grapes, into a kaleidoscopic trompe-l’œil. The imagery turns the elevator into a kind of symbolic time machine, a portal that collapses real history and imagined futures into a single, saturated environment. The work also taps into one of Palm Beach’s most enduring origin stories. More than a century ago, a shipwreck scattered tens of thousands of coconuts along the shoreline, accidentally branding the region as a tropical paradise. Like another Florida legend, the Fountain of Youth, the installation plays with the idea that renewal, reinvention, and becoming are always just within reach. 

The artists and co-curators have been using the elevator as a kind of surreal photo booth, inviting visitors to step inside and become part of the work themselves. The result is a growing archive of portraits of Palm Beachers, that feel suspended somewhere between past, present, and imagined future.