"You could divide the history of The Flat into two halves. There's the first half, say the ‘93 period, where it is sculpture, painting, objects. It's traditional media, even if not traditional in content. And then the second part, the ‘94 period, where it becomes more performative, site- specific projects, more conceptual. The idea behind one of the performances was that people were invited to bring whatever they wanted to perform. I think one of the lines in the invite was, 'You can say anything, you can do anything.' Freedom was the main principle that we tried to adhere to. Going back through the book, I see that come up again and again."
– Siemon Allen

As part of her ongoing project Social, curator Khanya Mashabela collects oral histories of artist-led project spaces in South Africa to complement a growing archive of associated printed matter, photographs, and digital assets collated through an open call to local arts practitioners.