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3 Stuart Comer at Tate Modern and Ian White at the Whitechapel Art Gallery, London Consistently superb film curating by Comer and White has ensured that film occupies center stage on the British contemporary art scene. This year, veterans such as Norman McLaren, Charles Atlas, Stuart Marshall, and James Benning were programmed alongside German independent director Fred Kelemen, a documentary of a performance by the band Throbbing Gristle, and a film series celebrating BUTT Magazine. Long live the subversive dark space of the cinema!

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4 "Fast and Loose (My Dead Gallery)" (Fieldgate Gallery, London) This show, organized by the Centre of Attention, dealt with now-defunct alternative spaces that came and went in London from the 1950s to the 1990s. Held in a warehouse in the East End, "Fast and loose" was an important work of archaeology, bringing forgotten spaces such as 2B Butler's Wharf, B2, Gallery House, and workfortheeyetodo back into focus. These spaces nurtured an alternative practice that has remained largely invisible due to its ephemerality, yet they were enormously important for the development of artists such as Derek Jarman, Peter Doig, Anthony McCall, Stuart Brisley, David Medalla, Yoko Ono, and the Neo-Naturists.

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5 "Jurgen Klauke: Works from the Early '70s" (Ritter/Zamet, London) Klauke's staged photographs and performances were pioneering in their questioning of the body and gender roles, and made breakthroughs in the use of photography as art. This jewel of an exhibition underscored Klauke's historical importance and reminded us that in the 1970s camp existed in art as well as behind the microphone.

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6 Douglas Gordon and Philippe Parreno, Zidane, A 21st Century Portrait To watch this film on a gigantic screen installed on the pitch of the Basel soccer stadium (designed by Herzog & de Meuron)--during the World Cup--was to experience site-specificity perfected. Succumbing to art-world ADD, many viewers left before the dramatic climax of the lengthy film, which captured Zidane being carded--prefiguring his red-card head-butt drama in the final match a few weeks later, and turning the incident into a case of life imitating art imitating life.

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7 "Allan Kaprow: Art as Life" (Haus der Kunst, Munich) This long overdue survey of one of the key figures in American art (co-organized by the Haus der Kunst's Stephanie Rosenthal and Eva Meyer Hermann at the Van Abbemuseum, Eindhoven) should be applauded for its attempt to create an alternative exhibition model based on Kaprow's insistence on impermanence. Environments were re-created by local students working with artists Magdalena Jetelova, Hermann Pitz, and Stefan Romer, and iconic happenings, from Household, 1964, to Eighteen Happenings in Six Parts, 1959, were reenacted to create a living exhibition that unfolds across time.

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