The Invisible Generation was a contemporary art project conceived by artist Per Hüttner and Curator Daniele Balit and organized by Vision Forum and created new meeting places between art and its audiences. A great number of projects were realized in Melbourne, Shenzhen, Beijing and Kyiv in 2009-2010. For each city the program and artist list was totally new. No project was ever repeated twice. The project always allowed the audience to meet art in new and unexpected situations and played with or confused the audiences’ expectations about what art is, where it normally appears and what shape it should take. Most projects were realized in contexts where the audience does not necessarily expect to find artwork. In the metro (Dinu Li, Per Hüttner), in a newspaper office (Yan Jun), on a public square (Natasha Rosling) or even contained as a story in the mind of a person in a shop (Good TV). In other instances the project played with the perceived immutability of the artwork. The audience was asked to actively create or re-create artwork (The Anti-Hospital), remove or destroy drawings (Jean-François Robardet), bring books to be changed (Private Contractors) or in some cases it was disguised as an informative poster, graffity or political propaganda (Huang Xiaopeng, Per Hüttner). The inspiration and title is taken from a text by William S. Burroughs where he describes a series of situation where a tape recorder is used to create new forms of meeting between people and new forms of engagement with the media. Melbourne, September 2009 The first part of The Invisible Generation opened to the public in Australia in September 2009. The presentation was co-curated by Hüttner and Balit. It was introduced at the Margaret Lawrence Gallery which was also the starting point for a number of interventions in the public space of the city. In the gallery were two major installations presented: Do Not Go Gentle Court by Per Hüttner and Polka Dot by French artist Mark Geffriaud. The two works redefine the gallery experience through reflections on the fabric of space and time. Being situated at the boundaries between installation and performance, they delineated a space that was the starting point for the Anti-Hospital, an open-ended and evolving platform which formed the core of the project. The Anti-Hospital was designed by Melbourne-based collective Greatest Hits and focused around a collection of artistic documents providing instructions that were formulated as