This is a review of Yuki Kimura’s exhibition “Inhuman Transformation of New Year’s Decoration, Obsolete Conception or 2”, which showed at San Francisco’s CCA Wattis Institute for Contemporary Arts from December 13, 2016 to February 25, 2017.

Sixteen writers each contribute to a collection of essays about an influential individual from the art world and culture at large.

The author discusses art with a temporal and spatial focus. She discusses the public artwork “A Sign in the City,” by Sabine Bitter and Helmut Weber, which chronicles events of the city through the daily firing of the “Nine O'Clock Gun.” She discusses the exhibition “The Voyage, or Three Years at Sea,” by curator Cate Rimmer, which explores the sea and includes artworks by Tacita Dean and Rodney Graham.

The article focuses on the concerns raised by artists and arts organizations in Canada on the impact of 2010 Winter Olympics in Vancouver, British Columbia (BC) on the arts and cultural funding in BC. It discusses how arts organizations receiving support from the BC Gaming Commission were denied funding, forcing them to slash their programming. It also discusses the events and artworks hosted by organizations and centers such as VIVO and Artspeak in response to contradictions of the Olympics.

The article presents the author's view regarding the art spaces in Vancouver, British Columbia. He states that the Bodgers' and Kludger's Co-Operative Art Parlour (BKCAP) is a place of leisure and of raising the communities participation. He mentions the artist-run centers that apparently become and give unchanging employment in training curatorial staff. He comments on the contemporary gallery The Apartment’s openness and support for the artworks and artists.