Through a great deal of time and effort, the artists made the gallery space light-tight for the last exhibition in the Control series.

Mahalski controlled Enjoy like a compulsive, money-potential worshipper with Winner!

Cross himself was a permanent feature at Enjoy during his exhibition. Cross lay on the ground, his head inside a customwood box, with a hole cut in the top so that one of his eyes could be seen. At the other end of the space were three other boxes of the same size, containing monitors, screening images of his face filmed under different conditions—one in daylight, one in neon light and one at night. Cross has a condition which results in his eyes weeping continuously. The degree to which this occurs depends on lighting conditions.

Simon Lawrence and Robert Hood built their show as part of the Control series, The Escape of Bullet Catching or Knights of Vaudeville and the Paradox of the Eye of the Paradox (sort of) on site. They worked in strong cardboard and brown paper tape, using geometric shaped pieces to produce a large hill-like structure in the square end of the space.

Christa Napier-Robertson, Don Smith and Douglas Crane each took a part in the Control Group show, the second exhibition in the Control series. The participants had not all met before the exhibition week, and were unfamiliar with each other's work. 

Gabby O’Connor’s work is the first installation in the Control series. Using large sheets of hand-coloured paper, Gabby segmented the gallery space.

Interpretations of the theme Damage by sound and performance artists. Performances nightly – detritus day by day.

This work involved two cotton threads running from the windows of the gallery and across to adjacent buildings, one being across Cuba Street.

Inspired by zombies and the undead, Amanda referenced bodily states between life and death.

Kent Bell’s work Copy was produced in the biggest NZ city and referenced the ‘big brother’ culture of today.

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.