Artist and gallerist, Toby Webster, recalls the exhibition in the following anecdote published in O - Overgadens anniversary book: Overgaden 1986-2011 (2011):

"In 1994 I participated in a group show at Overgaden only a year after graduating from Glasgow School of Art. It was my first international exhibition, and I participated alongside Angus Hood, Jill Henderson, Jakki Cunningham and Jonathan Monk. It was actually not really a group show – more a number of artists selected by Ross Sinclair without an overarching, shared theme. At Overgaden the Danish artists Jytte Høy and Erik Steffensen hosted the show, and they were really great. I remember sleeping on a mattress on the floor at Erik’s studio. Back then there was a lot of networking going on between different cities, and the show at Overgaden was very much part of this tendency, a dialogue between Glasgow and Copenhagen.

I think we stayed two weeks in Copenhagen, where we produced most of the work on site and then installed the show. For the exhibition I showed some painted broomstick pieces as well as some landscape pieces, which were quite minimal. Jonathan Monk and I also ended up doing some projects together there as well. There wasn’t much of a budget, so basically we made everything from stuff we found, but it was nevertheless my experience that everything was possible.

Thinking back, for me the show had a lot to do with networking and getting involved with many different people in Copenhagen. Jytte and Erik introduced us to people at the academy, and I think it was the first time I met artists like FOS, Kirstine Roepstorff and Superflex. For me it was quite important to meet all these people and to see what was going on outside Glasgow. This sort of networking, discussions about work and what we were involved in was really exciting for me. I don’t know if it was exciting for anybody who saw the show, but as a group of artists going away and showing their work together it was very interesting, I think. It made me aware of group dynamics and how ideas can develop, which was very inspiring for me.

At the time we were quite used to doing shows in many different places, and to actually have a white, classic exhibition space was amazing. It didn’t matter to me that the walls where shabby or that we had to manage a lot ourselves. The point was to put on an exhibition in this space. So although the opening wasn’t busy, the possibility of doing something like this particular exhibition at Overgaden was really inf luential for my practice afterwards."