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The apartment show achieving formal legitimacy as a real function of artworld relevance and not just the play-time it had been reduced is one of the more interesting aspects of CAD's documentary recognition, stretching its sight-procedure to visibility's edges still generally unfortunately predicated on symbolic credentials that CAD still requires to protect its own accreditatory investments in who it so chooses and so still the requisite proof of participation in the "conversation" by hosting pre-accredited artists in your AirBnb gallery network. "Elevation through association" that Michael Smith parodied so brilliantly as a marketing mechanism that had been used for ages as a kind of shoddy legitimator adding to your group exhibition a tiny poster by Cindy Sherman to see your name next to hers before becoming a real means of networking so real and concretized by CAD. You actually see young galleries put together group exhibitions loaded with CAD friendly names that everyone laughs at called CAD bait, but I think should just be called chum, and which this exhibition isn't necessarily but no exhibition necessarily isn't.
