re: The SYDNEY-SEOUL SECREt eXCHANGE
Helen...your closing phrase, in flux is probably the best description. Yes, the intention was to make exchanges with the public. In the case of Sydney, there was little attempt by the Museum to gather secrets from the public (less mess and stolen pens, I guess), so the mailbox was empty except for some primary student contributions and one from an anonymous woman with a harrowing disclosure. In Seoul, there were close to 500 public responses, but, after asking me how to handle it, they proceeded to make exchanges between members of the public rather than with the artists (probably because so few of them could read secrets in Korean). I think people may be more inclined to take my directives if I was rich and powerful - the becoming of which is my next artwork. The easy solution would have been for me to man the display: that would have completed all the circuits in true flux fashion, but think they may have thought of that as too messy in Sydney and too far to go to Seoul. This exclusion gave me more time to scout up contributors, but even that did not result in as complete a survey of artists-in-mail as I had hoped for. It maxed in Seoul with 200 plus contributors.
Did I hear Gail Whitter tell Keith Bates she has 2,000 artists on her list? In the early 70s, Ken Friedman had a promotional list of 5,000 which gave him a tongue like a dried apricot.
Thanks again for your help.