The end of the 20^th century was accelerated by broad advancements into the science and the art of intrusion.  Now, the 21^st century allows each and every one of us to carry the information age in our pockets and purses. We can talk, text, email, view the world on the net, and record and send out our “life” images from anywhere we happen to be. At the same moment, there is a camera watching us at every street corner. This isn't big brother, so much as Andy Warhol’s 15 minutes defining us all as self-proclaimed celebrities in our own right. We neither object nor hide from our increased visibility. We celebrate and embrace it, and buy into every new advance and gadget. All of this with the belief that by expanding the surveillance and instant interactions of our daily lives, we have each become integral to the entire global matrix of existence and meaning.

Early in the 21^st Century, in places just out of sight from those fixed street cameras, Tom Stoye documents the nocturnal sub-culture of our new century, Bettina Edwards rushes in unannounced to record places we don't normally go, William Sadovsky with a slow shutter catches the quick "movement" of this new life and century, Cynthia Greig presents it all back to us in deceivingly simple black-and-white images of the everyday – a sort of skeletal quotidian, Kelly Rosebrock creates boxes that haunt and draw us toward their light, and Jack Summers mixes the two centuries into a satirical bag of tricks that drains the magic from both.