ABSTRACT
In October 2001, an exhibition, CTRL [SPACE]: Rhetorics of Surveillance from Bentham to Big Brother, opened at the ZKM Centre for Arts and Media, Karlsruhe, Germany. Planned over a period of a year, the exhibition was the most comprehensive survey ever of art work produced in response to and using the tools of surveillance technology. Opening in the month that it did, however, the exhibition found itself repositioned in the aftermath of September 11. Suddenly, issues surrounding both security and the visibility of criminal activity on a massive scale were very differently contextualized.
