#FFFFFFspace is an internet-based exhibition forum curated by Polina Teif and Shannon Garden-Smith. The name, #FFFFFFspace, is derived from the html code that designates the colour white and is thus an abbreviated form of “white space” signalling its reconstitution of the physically manifest exhibition space of the “white cube.” While the platform acknowledges its curatorial antecedent of the real-space gallery, it is not a simple transference of the modes of presentation employed therein. Of course, using the term “real-space” to signify what the internet exhibition space is not might seem to set-up a dichotomy between two models that relegates #FFFFFFspace to a somehow “un-real” space. However, in no way does the project seek to negate the existence of online space. “Real space” is merely a convenient term that is the domicile to the curatorial concerns that attend the physical site. #FFFFFFspace is not beholden to the fixity of the physical, and conscientiously operates within the amorphousness particular to the web. The curatorial mandate is to feature works that are all expressly of this space, and can exist only within it. In this sense, #FFFFFFspace as an exhibition platform uses the same means as the comprising art works, instituting an ambiguity between the boundaries of content and context. 

       Beyond the brief contextualizing mediation of textual explications of the works and their creators, #FFFFFFspace necessarily surrenders a great deal of control over how the works are experienced. Viewership proceeds via the provided links to the external sites where the works exist, so that the experience of each operates on the immersive terms of its own environment. Information about the works authored by sources other than the #FFFFFFspace curators is close at mouse-clicking hand. #FFFFFFspace cannot unify or determine the volume, brightness level, screen size etc. for its visitors, so that many of the aspects of reception enter the purview of the viewer. With these factors in mind, #FFFFFFspace presents a considered assemblage of seven works, which are fundamentally linked in their internet-specific existences. Many of the works utilize the interactive nature of the medium, or in the case of The Sky is Falling frustrate or manipulate expectations of interaction. There is an open-ended quality to the experience of the work sometimes as a result of the viewer’s participation as is the case with Concrete Poetry. The open-endedness of Infinite Glitch makes use of the superfluity of online material that generates without repetition and without end. Where artists working with earlier technologies achieved the infinite through looping the finite, the constant accumulation that occurs online becomes the raw material for producing the durationally boundless.