LONDON, ENGLAND.- The Centre of Attention presents 'On Demand', an exhibition with Oreet Ashery, the Guerrilla Girls, Ben Morieson, Eileen Perrier, Markus Vater (throughout August and September 2005, central London, free).

1 Select a work from the artists above (check http://www.thecentreofattention.org for images), 2 Arrange a time for the Centre of Attention to bring the selected work to your home (call 020 8880 5507 or email on@thecentreofattention.org ) 3 There you may view the work and, if you wish, discuss it, 4 With your permission we will document photographically the work in the environment it is viewed.

ACCESS: Empowering the viewer! Seeing or experiencing the work on your own turf, within your own terms, puts you in control... or does choice instead only lead to a limited range of options being managed for you? And, as access is widened and opened to all, on demand, might this lead people to no longer be interested? Is art an elite badge?

THE REAL THING: What is the nature of the need to be present in front of the real thing? Is it a question of authenticity: witnessing for yourself? Or is it more a sublimated democratic principle in action: we may all as individuals stand before the object, experience it and as equals be bathed in its aura?

OUTTA CONTEXT: Focusing attention exclusively on the art object itself, without the gallery set-up, paraphernalia, décor, the daunt and the rituals creates a purer, more direct experience: not manipulated by the 'white cube' luxury shopping experience or the 'warehouse' risqué discovery alternative, the work can be experienced for what it is. Or... does it in fact undermine the work? leaving it weak, floundering, without the authority of the institution and the mystique of shrine and pilgrimage... And how does Art, which thrives using the gallery space to create an 'out of context' situation, fare if we further deny it the context for the 'out of context'?

WITHHELD: The success of the curatorial endeavour, the motive for the selection of the work, the visual hanging together of the show are abandoned as criteria for judging the curatorial exercise. The mechanisms of art viewing have been tampered with, the unities of action/space and time fragmented, the exhibition dislocated. The curatorial aim in the traditional sense will remain unverifiable as the curatorial notion is unapparent if unexperienced... On demand, and in your service, but each viewer will experience only a restricted view.

PLEASURE: Does instant gratification enhance or undermine the perfect pleasure? Where desire can be easily sated, as Proust says, is the pleasure lessened? Does making fulfilment and pleasure easy remove the quality of the pleasure? If art is for many a form of disappointment... can disappointment become a material for art?