At the opening of Vårutstillingen (the Spring Exhibition) in 2013 visitors could hear rather than see a three-hour-long performance in pitch darkness. Artist Arne Vinnem presented descriptions of images that had fastened themselves to his retina in the course of his nightly rounds of Fotogalleriet's archive. During the remainder of the exhibition period the séance was presented as a sound recording. Bilder som festet seg - referat fra netter i arkivet  (Images that attached themselves – notes from nights in the archive) may have been far from what we normally associate with photography as a physical phenomenon; nevertheless the work had a powerful basis in photography as a medium and in Fotogalleriet. Without the gallery's archive the work would not have existed.

If we examine the history of Fotogalleriet Vinnem isn't the first artist who has related to Fotogralleriet as a site. This article will more closely study Vinnem's project in the light of a second controversial exhibition. Dag Alveng's 1979 work Vegger (Walls), like Bilder som festet seg, established a site-specific relationship with Fotogalleriet but in a different way. Therefore these works reveal an alteration of the artist's thematizing of place as defined by art historian Miwon Kwon. While Alveng's work has a phenomenological relationship with the gallery space, Vinnem is an exponent of a more discursive attitude to the site-specific.