A recurring objective on the local contemporary art scene in recent years has been an attempt to bring together Asia Pacific artists through cultural exchange initiatives. USEby, a recent exhibition held in two of Melbourne's public art spaces, continued this theme while also adding a novel and thought-provoking perspective. Divided between the Centre for Contemporary Photography and 200 Gertrude Street, USEby presented the striking work of a number of emerging contemporary artists involved with artist-run galleries and co-operatives in the Asia-Pacific region. Curated by Tessa Dwyer and Sarah Tutton, the exhibition was conceived as a response to the proliferation of artist-run spaces and initiatives throughout the region, and was intended not only as a means for exploring the work of new artists but also as an opportunity for collaboration and inter-cultural exchange. The word 'useby' calls to mind expiration dates, short existences and impermanence. In the context of this exhibition, the clever title alludes to the generally short life of artist-run spaces and initiatives (which are mostly dependent on self-funding and/or cheap rental spaces to secure their otherwise fragile existence) but also refers to the often temporal nature of the art produced within such spaces. As a whole, the exhibition successfully brought together an exciting display of new art being produced in the region. But it did leave some nagging questions. In particular, what was it about the work of these specific artists and groups that made them so representative of the collectives they had been taken to represent? Evidence suggesting collaboration between the artists and groups represented was also wanting. In essence, the exhibition presented an array of individual works from various artists and collectives in the Asia-Pacific. Singaporean