This article discusses the popularity of artist residencies in rural and urban sites globally. The author traces back the appeal of such centres to the nineteenth century Romantic idea of artist colonies, which were utopias or sorts where artists can experience nature and attend to their artistic concerns. She discusses the emphasis on sustainability and environmental issues common to many residencies, such at the Banff Centre, Fogo Island, and Caetani Cultural Centre in Vernon, BC. The author discusses the irony of residencies that promote sustainability while encouraging visitors the other side of the globe.

The article focuses on artists Laura Kikauka, Gordon Monahan and Bastiaan Maris, who recycle obsolete technology into installation art. The article discusses the artists' shop, called The Glowing Pickle, which was located in the former East Berlin, Germany from 1993 to 1995 and sold discarded electronics. The article goes on to discuss the artists' later recycling endeavors and the work of Canadian artists Eleanor King, Adam Kelly and Tim Dallet, who also use found objects in their art.