Douglas Bagnall created a machine that takes the hard work out of cloud watching.

G. Bridle is a cryptozoologist; he investigates and studies the mirrorical, an entity which is ‘hidden' or possibly unattainable. He describes it as a demanding existence requiring perseverance and faith in the face of scepticism, but tirelessly he does not waver from this lifelong vocation. G. Bridle here documented this quest for the mirrorical, an aesthetic spirit, through the portrayal of potential habitats and sites of reference.

In 2005, Enjoy Gallery moved from 174 to 147 Cuba Street. Although this move was short in distance, producing a street number that is satisfying, albeit confusing in its reversal, the relocation brought about a great change in terms of new architectural challenges and considerations for exhibiting artists to work with.

CLUBSproject Inc. was an artist-initiated project, which initially resided above the old Builders Arms Hotel in Fitzroy, Melbourne, Australia, operating from this site for three and a half years. Since the closure of this pub CLUBSproject encountered a struggle with the new landlords and it became untenable to remain on these premises.

Green Belt Video Suburb was a collaborative multimedia installation by Wellington artists, vjRex and Jenny Gillam, which explored relationships between environmental and suburban anxiety.

It can often feel like there's an art biennale opening somewhere in the world every second day. In Pacific Rim Inaugural Emergency Shelter Trienniale (or P.R.I.E.S.T.) artists Julien Dyne and Hamish Palmer chose this ubiquitous format to showcase some of their latest works in a tongue-in-cheek collaboration.

Deflation saw Dunedin-based artist Violet Faigan's continuing exploration of the role of value in contemporary society. 

Lucky Sod saw local artist Caroline Johnston play with ideas relating to the contrived organisation of nature and how this is manifested in home gardens.

Local artist Daniel du Bern was selected to represent Enjoy at the 2006 Next Wave Festival.

Over four weeks Chris Cudby was a daily resident at Enjoy, producing weekly printed booklets with accompanying audio CDs documenting his artistic activities in the gallery space.

SLIPs called for local residents to contribute ideas to improve Wellington, utilizing the gallery as a headquarters and meeting place for the public to come in and discuss their ideas.

The annual Enjoy Gallery fundraiser.

Tourists, exiles, immigrants, expatriates, and refugees. The idea of location determining identity has particular currency in contemporary society as travel becomes easier and the distances between countries seem to shrink.

Terry Urbahn has spoken of his interest in the mystical sense that the medieval landscapes of Europe emanate. before this show, Urbahn had just recently travelled to Europe for the first time and was struck by the sense of age, permanence, history and grandeur of the places and sites he visited. Spellbound played with the memory of travel, simultaneously revealing documentation's failure of truly conveying an experience and the dilemma faced by the artist in absorbing and adopting its influence.

The first year of art school is often set aside as a time to experiment with materials, ideas, scale and space in a way not possible within the secondary school curriculum. This can be either a liberating or terrifying experience. SPECIAL at Enjoy: First year show takes work from this playful period of freedom and inquiry, combining works by students currently in their first year of study at Elam, Auckland with the first year work of SPECIAL gallery board members and other practicing artists from Auckland and Wellington.

Enter a world of stop-motion monsters, crude puppetry and dodgy special effects.

As a result of 2004's Performance Week success, we decided to do it again. Enjoy Gallery presented repeat performance 2005, a week dedicated to the exploration of contemporary performance art. In 2005 we invited artists from within and outside Wellington to choose a performance of their own or from history to be re-performed.

Ice creams shared between lovers? Kisses that draw blood. A rejection that leaves the room tepid.

Michael Morley's paintings attempted to recreate abstract utopian ideas as graphic symbols. These inevitably operated as failures; an acknowledgement of the elusive nature of utopia and the futility of attempting to recreate it conclusively and with any authority. Failures too because of painting's reliance on failure and disappointment in order to proceed through successive and repeated deaths. The history of post-industrial global culture is replete with examples of failed utopias.

Marnie Slater was joined by Daniel du Bern and Jessica Reid to present her debut solo project Everything I know at the Top I learned at the Bottom.