»quantum blink«, 2011 by Isabel M. Martinez.
“Towards a Theory of Impressionist and Expressionist Spectatorship”, 2002 by Luis Jacob.
“Lives & Works (Calculating Revelations) blue”, 2006 by Micah Lexier. Waterjet-cut aluminum, enamel paint, blue wall paint.
“Version 3 and 4″ from “Bouvard and Pécuchet’s Invented Desk For Copying”, 2007-2009 by Gareth Long.
»A Colour-Coding of Partch’s Ptolemy Keyboard Based on his Chromelodeon I«, (2008). Digital print applying the arbitrary colour scheme used by the American composer Harry Partch on the microtonal keyboard he constructed, called the Chromelodeon I, to his first-ever constructed instrument, the Ptolemy. The only record of the Ptolemy is a black & white photo. The colour print represents one “octave” (comprised of 41 distinct notes) of the Ptolemy keyboard as it may have appeared. The original instrument was misplaced by Partch sometime in the 1940s. By Craig Leonard.
“A Kind Jester”, 2004 by Craig Leonard. Rebuilding abandoned bikes in downtown Toronto.
»I Want to be Welcome Everywhere, Always«, 2008 – ongoing (ceremonial keys to various cities) by Jon Sasaki.
»Ill Prepared Piano« (2003). A classified ad in a local newspaper was answered on the day of the performance and a professional piano tuner was hired to repair the gallery piano as the evening’s final performance. By Dave Dyment.
»Playing Piano« (2008) is a stripped down, altered and refashioned piano with the addition of microprocessor-controlled machines and appropriated old piano rolls. By Marla Hlady.
»Untitled (Headset)«, 2007. A pair of headphones is altered so that one earpiece becomes a microphone, picking up its own sound from the speaker and creating a continuous feedback loop, which is disrupted by attempts to listen closer.
»Nothing (for Robert Barry)«, 2007 (Power-bar, electronic pest control devices) by Dave Dyment.
»Evil Decoder (Ouiji Subwoofer)«, 2006. A modified subwoofer which vibrates a Ouiji Pointer over Ouiji letters, spelling out the sinister directives that have been encoded in all popular music as subliminal messages. By Jon Sasaki.