collective member Lisa Brawn describes the UC of the 1980s and early 1990s as producing "rapid-fire shows using video surveillance, nets, creamed marshmallow and red packing tape" and she jokes that the Congress took over the Alberta College of Art and Design "(l)ike a parasitic infestation." This period was very active for the United Congress, who assembled numerous shows on a variety of themes, including March 1989's One Hundred Pounds of Pretty Girls, God Save the Queen in April, 1989 at the Marion Nicholl Gallery, Montreal at the Illingworth-Kerr Gallery in 1992 , as well as CNIB, Recent Video Art by the United Congress (which contained no video art), The Sacred Shroud of Turin, and Our Ladies of Soul Sister. Each show was promoted by a run of hand-silkscreened posters distributed throughout the city . The United Congress also collaborated with community groups to produce hand-screened posters for events such as Women Looking Forward's 1989 International Women's Day celebrations, and with the Calgary Jewish Centre for their multimedia presentation The Farthest Horizon: 100 years of Jewish Life in Alberta. Publications Daisy Gets Erotik This collective also took on the publication of the ACAD Magazine, and in Oct 1989 the first issue of Daisy Gets Erotik was hand silk-screened and made available. "Daisy" was considered controversial as an official student newspaper, as it featured nudity. Publication ceased after three issues . Development of ISU In the early 1990s, UC founder White-Field Senate developed a constructed language inspired by Dutton Speedwords. Called ISU (short for 'In Stat Ua' or 'International Language'), the developed language attempted to root out perceived inherent biases (such as gender hierarchies) in existing world languages. In 1996, the United Congress published a book on the topic: ISU: THE NEW WORLD LANGUAGE. Later Projects United Missions The United Congress collective briefly changed its name to United Missions in the mid-1990s, and for the 1997 Calgary ArtWeek Gala Bacchanal, presented Golden Boy, a show based on the personal artifacts of Rafael Albert, a Victorian cyclist. Comme des Congres In 1999, Richard F of The United Congress opened its Calgary street-front gallery, the Comme des Congres. The gallery hosted several shows, notably Alberto Guedea's Re:<o><o> , ""an investigation of art creation using electronic mail as a tool", Hurting, and Self-Maintenance, which featured artist Carl Chapel George publicly attending to details of his personal hygiene, such as brushing his teeth, clipping his