As it happens, there is no Dumb Waiter in the building, and one could hardly be imagined, but it remains a useful curatorial metaphor for
passing from one environ to another. Each artist is given space to develop a site-specific installation, and in some cases were asked to
produce an idiosyncratic response to the space. In Harold Pinter’s play of the same name, which takes place in a basement room, it
appears that two hit men, Ben and Gus, are awaiting "orders" regarding their next unknown victim. Simultaneously comic and threatening
requests emanate from the unseen operator of the dumbwaiter who appears to be "senior" partner Ben's intended victim at the end of the
play. This exercise in semantics and menace corresponds with much of the work in the exhibition.