But the series of instruments for its production, like the role of the roll of dice, the picking of cut up names out of a hat and the rules of engagement, see below, came later through discussions between Warren Neidich and Eric Angles.
Being close to the New Museum, and two blocks from Prada and Armani,[2] Exhibition spoke not only to the current economic climate, following the financial crisis of 2007–2008, but the problems of art treated as a (luxury) commodity.
"[3] Exhibition (211) exhibited over 50, and up to 100 artists, including: Boshko Boskovic, Mathieu Copeland, Loretta Fahrenholz, Donna Huanca, Sean Raspet, Alexis Knowlton,[4] Liz Magic Laser, David Levine, An Te Lieu, Jen Liu, Jason Loebs Archived 2018-03-28 at the Wayback Machine, Emily Mast, Amy Patton, Georgia Sagri, Alexandre Singh Mark Tribe, and B.
"[6] The approach of Exhibition echoed the cut-up technique by Bryon Gysin and William S. Burroughs, which is also visible in Warren Neidich's own artistic practice.
[3] As a summary of the type of engagement between the collaborators in Exhibition Artus said at the end of her article: "The notion of striving in a competitive world is reinterpreted in such a way that is promising: not only are we struggling against each other, but – more importantly – for each other.
[3]" In an important dialogue between the founders, published by Art Lies,[1] Elena Bajo further mused on the problem of capital explicit in exhibition formats: "Perhaps limiting actions to a specific site, which is free of rent, and creating a temporary time-frame of six months and a set of rules in which chance and conversation play a significant role frees us from the dangers of capitalistic assimilation that beset most large cultural institutions that rely on private funding.
[1]" said Eric Anglès, emphasizing that the social engagement became the most important factor, "what might at first glance look like a theater of freedom and constraint, the rehearsal of a tired dialectic between an artist/curator enforcing the law and an artist/Houdini dancing her way out of those shackles, is far more immediately and compellingly an experimental site where each one of us present in this space is made to decide, over and over again, how to face one other.
Warren Neidich discussed the question of the archive "when this experiment closes on the last day of August, what traces will be left for future audiences now transformed into historical readers?