Artist, Henrik Olesen, recalls the exhibition in the following anecdote published in O - Overgadens anniversary book: Overgaden 1986-2011 (2011):

"In 1993 I made the exhibition Krop og Instrument (Body and Instrument) at Overgaden, together with Michael Elmgreen. We had been working together for a period of about two years at the time. Our first exhibition was in Baghuset in 1991, and Overgaden was one of our last projects together. The exhibition was first shown at Esbjerg Museum of Art, where we exhibited, among other things, a toilet door with a glory hole. From the show at Overgaden I remember an X and a Y chromosome, which we had had produced the size of a human body. It was a bit fetish-like, creating associations with a leather outfit from Stable Bar with a cock ring in the middle.

When I think back to Copenhagen in 1993, it was not really possible for me to find much art that I could identify with. My experience of the city’s museums and institutions was that they were exclusive, sexist and totally heterosexual, and I did not empathise with that way of exhibiting art. At that time a lot of people were dying of AIDS, which was having a devastating influence on Copenhagen’s gay scene. It was a pressing issue for both Michael and myself, and one that we tried to address in our art. Our attitude to art-making was consequently also a reaction to the attitude of the state and the legislation towards homosexuality as a category.

Another thing that inf luenced both Michael and myself at that time was the idea of the collective. Today Michael works with Ingar Dragset, and over the years I have created many projects with other artists, such as Judith Hopf and Kirsten Pieroth. There were lots of collaborations even back in 1993, and many of our fellow students at the academy were exploring social forms of production. Some of the more durable of these included Koncern, Bob Smith, Rasmus Knud and Recke, Heide & Pingel. The collective idea also manifested itself in self-organised exhibition spaces and projects such as Baghuset, the exhibition venue in Nørre Farimagsgade, Saga Basement and Max Mundus, and in projects at Krasnapolsky, Campbells Occasionally and in Peter Land’s apartment.

I moved away from Copenhagen shortly after our exhibition at Overgaden, so my memories of creating art in this context are still bound up with those people and projects. Overgaden was important in this connection. Many of my fellow students from the academy were incredibly active, and Overgaden was one of the few non-self-organised spaces that gave us an opportunity to show our production. I remember that we looked after the exhibition ourselves, and that there weren’t many visitors, apart from friends and students from the academy. We smoked a lot of cigarettes by the canal, and there were also some reviews. The opening, however, I don’t remember at all – it has merged with all the other openings at Overgaden."