In this paper we describe the Pleasure of treasure treasure hunt around London’s King’s Cross area. The pleasure of treasure was devised as a response to Richard Wentworth’s exhibition An area of outstanding unnatural beauty, November 2002. Richard Wentworth sought to explore the character of King’s Cross by creating an exhibition space that would provide somewhere both where the overlooked and hidden histories of King’s Cross could be gathered together and also where people from the King’s Cross area could engage with activities that had been lost or overlooked. Similarly, The pleasure of treasure sought to take people around the area with a view to exploring its histories and oddities. More than this, it hoped to open up the area to fresh eyes, capable of seeing the secret treasures that lay there. In keeping with Wentworth’s project, the beauty of King’s Cross lay not only in the process of exploration but also in the chance encounters (of various kinds) that sometimes surprise and sometimes disappoint.

New York is a centre of creative production for an exciting, emerging generation of women artists. Their work investigates themes such as the body as medium and subject matter; the deconstruction of the existing patriarchal order of the art world; the appropriation of earlier art historical references; and the use of so-called abject and everyday materials. New York New Wave investigates the relevance of earlier feminist practice for this 'new' generation, asking: Does gender difference still play a role in today's practice? How can younger women artists embrace a radical political ideology and yet remain market friendly? How far have these artists diverged from the established feminist “tradition”? Artists discussed include: Firelei Baez, EV Day, Ruby LaToya Fraser, Diana Al-Hadid, K8 Hardy, Valerie Hegarty, Cindy Hinant, Dawn Kasper, Anya Kielar, Liz Magic Laser, Narcissister, Alix Pearlstein, Aurel Schmidt, AL Steiner and W.A.G.E.

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The evolution of augmented, mixed and virtual realities has opened up opportunities for some artists to construct work that in the past would have required expensive sets. Art historian and curator Kathy Battista shows us some examples of these new creative models of practice and the speculative worldmodelling they have produced.

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