Another was disapproved and remained unfinished. Others met acceptance only after lengthy discussion and persistence on the part of the artists and the gallery. Once the works were installed no problems were mentioned, and in most cases, were accompanied with the approval of the property owners and the public. Whether the Locations pieces were seen as an exhibition or stumbled upon by accident, the viewer was given a chance to see artwork in an urban and public context. Within this urban setting, which is so inundated with advertising, which perhaps we try to lock out of our attention, it is welcome to come upon a statement more human in its quest, not seeking commercial promotion, but existing to be viewed as a statement within the context of its setting.
Locations is an idea whose time has come and gone .
In its own proper time, its concept could be questioned. Or it should be interred as an historical genre, abandoned to the ruins of its intervention and photographic documentation. On this occasion of Locations, its form is denied while its currency is played upon. Whether the Toronto Locations indicates a shift from site specific work to public art, it is the former that has set the terms for what is exterior to the gallery. Placing gallery art outside does not make it public.