As MTAA so elegantly states in "Simple Net.Art Diagram," "The art happens away from either terminus where computer monitors are symbolic of users on both ends of the exchange. Somewhere along the electron chain of data transmission, 1Ís and 0Ís bounce back and forth between the "Associates" and the person on the other end. It is pointless to go on and on about the technical specifications and processes, like what signals get sent where when and what processes what. MTAA's operation relies instead on how value is constructed between sites, nodes of contact, which can be seen not so much as site-specific positioning, but rather site-relativist.

In Time!®: The Nostalgia-Free History Sale, visitors can go to MTAA's website and get the time they spent with the artists immortalized for the nominal price of two dollars. The visitor sends a live video image via a Cu-Seeme connection directly to the MTAA studios to be "transformed into a one-of-a-kind artist print" that is signed by the artists and sent to the viewer via snail mail.

"TIME!®," according to M. River, "in its playful (and small) way was about not waiting for that market. We created our own method of exchange." This strategy paid off, not in terms of financial gain, but in notoriety as the courtyard of PS1, a contemporary art space in Queens, played host to a booth featuring MTAA's Time!® over a summer weekend in 1999. The invitation by PS1 to participate in an exhibition, if for just two days, anchored the location of value, the rarity associated with the time spent with the artists clearly within the realm of the aesthetic.

At the Walden Gallery a small space in New York's Lower East Side, MTAA installed their first "Solo Show at Walden" (also called "New Stealth Model of Careerism" or "NSMOC") in January, 2000 that featured documentation of Time! (paper printouts of viewer's images signed by the artists and pinned to a large blue tarp in a grid pattern on the gallery's wall, a notebook of forms filled out by the participant laying on a shelf for gallery visitors to thumb through) in addition to many other physical remnants and creations that evidenced online projects like the Visual-Text Art Venue, Direct to Your Home Art Projects (or DYHAP) allowed them to circulate offline.

MTAA's Portable First Solo Show Audio Tour & Extended Dance Mix amplifies the paradoxical stance that MTAA's work takes to the gallery space. Descriptions of the online works (as manifest physically in the gallery space on paper, "scale-models") are read by M River and T. Whid over a quiet, but slightly jarring techno beat courtesy of DJ CP_V70 (Net artist Cary Peppermint. The Audio Tour provides another layer removed from the ambiguous site of the work's genesis. Already, the work documented at Walden in "New Stealth Model of Careerism" happens somewhere else, between MTAA and their audience over an Internet connection, impossible to reproduce anywhere but there.

MTAA, however, do not seem to think that there is any sort of disadvantage to this situation. In fact, these sort of limits are just the thing that make an online practice productive for the site of viewing, experiencing, participating, as well as producing and distributing can constantly shift.

The conceptualist strategies of artists like Robert Smithson or Michael Asher describe "site" as not only in "physical and spatial terms, but as a cultural framework." Such a cultural framework must undoubtedly include the art institution. Smithson's "non-sites," refferential and evidentiary fragments of his site-specific, outdoor projects, connected to a place, "non-sites" evidentiary at times of documentation, use of mirrors, gallery space that supposedly was supposedly neutral by the accounts of Minimalist sculpture. But then as it is today, the gallery is a charged space. Smithson's non-sites of course serve a market function as they can circulate in the artworld as object in ways that the Spiral Jetty, a 1500 foot long spiral construction of rocks and sediment in Utah's Great Salt Lake, cannot. More affecting however, is the way that Smithson's non-sites point to a marked absence. In this sense, the byproducts of MTAA's operation (CDs, "artist prints," and the like) could be considered "non-products": referencing a artistic practice that a gallery or museum system may or may not be ready to support on the account of having no concrete objects to sell.