They have divided the gallery into four shops and handed the reigns over to a selected number of artists who are pumped to hustle, sell, consult and charm as entrepreneurs and salespeople, cheerful retail renegades of their own brand before they are artists.

They step down from being the untouchable ArtStars too snotty to give us their time or handshake. Here, they are not rare and precious rubies, or the quixotic, straggly starlets shining in the glossy pages of Artforum. They get real, for once.

The Willing and Able seems simple enough, with tall, lean vertical stripes of multi-coloured paint covering one wall, while a long list of Toronto galleries, in alphabetical order, sits on a perpendicular wall in undecorated black type. Although the visual result of Morrison’s installation appears minimalist in style, the precision with which it is implemented is highly (and obviously) labour-intensive.

The concept was a monthly show, airing once a week in the Parkdale-Trinity area only. Basically, the idea was to feature a film or video artist, who had been selected by the board, and who was exhibiting concurrently at the gallery.

Cohene represents the utopian myth by meticulously selecting the textures, colours, patterns, clothing, objects, and architecture of the 1970sthe era of her own childhood. The illusion of togetherness, of family is present and seductive. Memory and fantasy mingle to create a psychological mechanism similar to denial as the architecture blithely enforces the nuclear family construct.

John Marriott has too many ideas. It’s a problem; it comes time for an exhibition and he doesn’t know what to show. It isn’t a matter of editing, or of selecting the good or successful or appropriate work from the duds, the losers, the inappropriates. It’s a matter of starting all over again, as if from scratch.