Artist, Morten Stræde, recalls the exhibition in the following anecdote:

"In 1988 Leonard Forslund and I were still new to the business of being professional artists, and applying for an exhibition at Overgaden was in many ways an obvious thing to do. The place was full of artistic self-confidence and dynamism, it was not restricted to any particular style, and even if you had to look after the exhibition yourself, it still felt like a step up. We had previously exhibited in commercial galleries, but here you could sense a completely different type of freedom. We set the agenda ourselves.

Our exhibition was a reaction against the fast pace that characterised the art of the eighties. Unlike the ‘young wild’ generation of painters who had great success with their frenetic visual speed, our strategy was to go for the extremely slow. What we were going to present would be technically and artistically worked through, disciplined and restrained. That was why we insisted on getting the entire first floor to ourselves, so that people could not quickly go from one exhibition to another. And it was fun to try our hand at working with a large space, just the two of us. I only showed three works, and Leonard perhaps six. They looked very nice, though – especially set against Overgaden’s slightly raw look, which works well as a setting for art.

I still remember clearly how the works looked in the exhibition. This was the first time I exhibited the sculpture Memoria/Fabbrica; a plaster figure the size of a man, resembling a post-modern magnet that has attracted all sorts of references to it. It was placed on a black, high-gloss lacquered plinth with profiles – very attractive, in fact. Subsequently, that particular sculpture became something of an emblem for me and for sculpture in general in the eighties. Seen in retrospect, it was a very important show – more important than I knew at the time.

It was one of the exhibitions that I’ve been most happy to put on, one of those in which you feel you have gone to a whole new place. And I think Leonard felt the same. We both sold a few works, which of course strengthened our belief that there were people out there who were interested in us. It was ‘risky business’ and a bit ‘we’ll show you!’, but there was room for that too. The place was completely open. Sometimes I worry that Overgaden has become a little too respectable. I would welcome a bit more wildness and anarchy in the curating. Not that I think things were better in the old days, but it would be terrible if the new art were placed in a strait-jacket."