Thinking about FENSO group phenomenon, I’ve always caught myself being puzzled with almost non-professional questions, like: how do they work fourfold, who’s doing what, where from comes that elegant ethereality, and why it’s not present in some works? The new 1998 season just started answering my immodest questions – FENSO members began showing separate projects. Anton Smirnsky has shown «FENSO Museum» in October. In November we’re opening «Salads», the exhibit by Salautin-Fain. Maybe, it’s time now for the group’s most esoteric member, Vasily Smirnov, to get out with his own personal stuff. So this surprising dismemberment is the point of interest, of the gallery’s special concern, almost masochistic – as long as we’ve always been attracted to the whole thing. Anton Smirnsky is enchanting, his project has it all – «complex» easiness, special artistic drive, «brandname» FENSO shifts of consciousness-subconsciousness-perception. Something blurred, unshaped, something that is drawing one into its field, and brings vague hopes for possible different ways of Moscow art. Salautin-Fain are more concrete and straightforward, while they still work within the borders of the group’s paradoxical logic; for the first time there’s no objection to quality of the work, and the shooting is perfect (special thanks to photographer Vladimir Fridkes and printer Pavel Nikiforov). But still I can’t rid of allusion – a heroine of Nikolai Gogol’s classical play dreams of ideal bride: if Ivan Ivanovich’s mustache be planted onto Petr Petrovich’s head and... How I’d wish to beef up project by Smirnsky with quality finish, and add some insanity and Smirnsky’s interpretation to «The Salads» by Salautin-Fain. And then come nostalgic flashbacks of the knights, golden babies and... Where are you, FENSO?