Part of the Damage series, the first step in the development of the work was performed by a number of contributors. This involved numerous people disposing of, or losing the negatives of photographs they had captured. Finding them was John’s next step in the construction of the work.

Roger’s show was drawn from of a large body of work made over the past 20 or more years.

This collective exhibition was the second in Enjoy’s Damage series.This collective works, on regular basis, outside gallery spaces in their areas of familiarity. They claim their space and develop it according to an organisation held manifesto.

Heynes ‘just wanted to wreck shit.’ It was a case of destruction for amusement. Multiple baby grand pianos the size of small sandwiches, taunted viewers with plastic renditions of ‘Fleur-de-Lis'.

Clements' show began at the opening night. The doors of Enjoy were open for visitors to enter and witness Clements painting the windows black. Clements, outside of the gallery, was spraying black paint on the windows and thus deliberately changing our view; from a view out the windows to a view of ourselves in the mirrored black of the now painted windows. This performance, happening over the hour of dusk, in multiple senses ushered in the night outside.

As part of the From Enjoy series, this show involved the procuring and placing of nine shopping trolleys within the extended landscape of the gallery. All the trolleys were viewable from the gallery but not from any single vantage-point.

A wind-spun sign (the type familiar on streets of our cities) with TRUTH written on one side and LIES on the other, was placed across Cuba Street on the awning of a shop. This street-level sign being placed on the first floor transformed the street in two ways. Firstly, it made the awnings that hang above the pavements into footpaths, for shops, like Enjoy, to wander, with our eyes if not our bodies.

As part of the From Enjoy series, this work was a new take on the found object approach to art, mixed with a kind of performance. Enjoy staff members wearing nametags kept a vigilant eye on a specific parking space directly across the road from the gallery. This parking space was made free to members of the public. The staff would make sure that any car parking in the space had its parking paid for and was presented with a sticker which said that they had parked for free as part of an exhibition at Enjoy

As the first exhibition of the From Enjoy series, PIGEON responds to 'popular' public perceptions of contemporary art. As the gallery goers gather around the windows looking for the art beyond, a pigeon sits on a ledge looking in to the gallery. 

She had become familiar with the gallery's nooks and crannies and had also been host to the odd person with a history of the building. The two fireplaces along the long wall of the gallery interested her, as did the flat white walls behind them.

Couper brought in a series of paintings and sculptural works, produced several years ago, with the interest of working in a non-dealer space. Th exhibition gave us our first taste of the big time with a review in 'Art New Zealand'.

Luxton took a twist on his traditional drawing method of charcoal on paper and brought it into Enjoy by substituting our walls for his removable sheets.

Clemens followed fabric with synthetics. Clemens' show consisted of numerous items, formed in polystyrene and plastic, and waterproofed by way of vacuum sealing. All these works referenced a liquid from which they were protected sealed fake toilet rolls, a water sprinkler and a plastic champagne display to mention the more accessible.

Early 2001 saw Enjoy welcome two artists from Auckland to produce work on site for our continuing #3 series. Ruth Buchanan and Georgie Hill, students at Elam, combined their time in the gallery environment to develop a joint exhibition. Both artists work in materials referencing the traditional position of women as homemaker/house padder, and although working in differing ways, attempted to successfully produce a single show.

Anthea had been working on a series of photographs involving the process and outcome of dropping milk into glasses of water. The photographs were intended as part of a body of work toward a masters degree trough the Melbourne Institute of Technology, and brought to light some of the problems where ulterior motives can interfere with curating a successful show.

Hannah and Aaron Beehre followed with another collaborative series of work for the #3 series.

The #3 series began with a collaborative, untitled show by Richard Reddaway and Sean Kerr.

Photo Extraction was a photographic installation exploring the function and production of certain cultural elements that go towards the formation of a national identity.

New work from Andy Irving and Clem Devine.

Amanda Ra was the last artist to show in the Siren series. This exhibition also focused on a twisting of the siren’s allure, targeting the subject of its gaze.