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The Austrian collective Gelatin was supposed to open its New York show on September 11. About two weeks later, after some hesitation over whether to proceed, it launched “Habitat Tour 2001” with the first of three Thursday evening lectures-cum-performances that accompanied a room-size installation. This “habitat” was outfitted with a large work table and four bunk beds; the walls were covered with images of the Gelatin boys naked, album covers, cartoons lampooning Michael Jackson, and clips from pornographic magazines collaged, Berlin Dada style, with other images, heads placed on different bodies, bodies situated in shockingly funny ways. Real adolescent art-world fun, complete with groupings of dilapidated toys and stuffed animals that had been altered by amputation or naughty addition (elephant trunk for penis, etc.).

During the show’s run, the installation grew with the addition of

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