KSW presented its first annual APAture: A Window on the Art of Young Asian Pacific Americans on September 28, 30, and October 2, 1999. The successful event was coordinated and curated by KSW-Next, our younger artists between the age of 18 and 35. KSW-Next member Sabina Chen gives her first-person account of APAture week:

This was the vision: a multi-disciplinary arts expo showcasing emerging Asian Pacific artists of the next generation, 18-35. The event was dubbed APAture: A Window on the Art of Young Asian Pacific Americans. It was my first year as a young writer in San Francisco and I stumbled across this ragtag group of erstwhile artists with some hesitation and suspicion. I was from the academy, recently graduated with an MFA, and these people were poetry slam performers and "zine" writers and artists who used naked body parts to paint. We were pulled together by APAture, committed to providing a venue for the varying voices in our community.

Before I knew it, I got sucked in. We held endless planning meetings, sold Macy's coupon books to raise money, clogged the internet with e-mails, screened stacks of submissions, and drank large amounts of wine. There was no turning back. By September, we had plastered the City with spiffy postcards (designed by Ritsu) and we were holding frantic last-minute meetings to iron out details and screen T-shirts. I was starting to get sick of these people. As the big date drew closer, we held our breaths and steeled ourselves for a week without sleep.

APAture week started on Tuesday with a panel discussion on art and activism at Galeria de la Raza. Moderated by Wei-Ming Dariotis, the evening initiated lively discussion across two generations of APA artists. We gleaned wisdom from our elders, not by sitting at their feet, but by engaging with them as fellow artists. On Thursday, we held APAture's film and video screening at Artists Television Access. Matthew Abaya, filmmaker and spaz extraordinnaire, curated and emceed the packed-house show, which featured works of insight and humor and unsuspecting audience volunteers singing karoake in Tagalog.

Saturday, October 2, 1999, at CELLspace, the first annual APAture opened late, of course. Literary readings, music, short plays, spoken word, dance, zines, visual art. APAture's program covered a wide range from the traditional (Korean drumming and Indian classical dance) to contemporary (kinetic light sculpture and fusion jazz). Hands-on activities included a make-your-own zine table and a sidewalk chalk mural. Spoken word artist Dennis Somera shaved his head onstage. Visitors to the facilities were treated to a unique bathroom installation by artist Jim Choi, displaying his fixation with bodily fluids. Doug Hirai and his electric guitar converted this classical music girl into a momentary headbanger. We had thought APAture's audience would just be us and our friends, but somehow the word spread and people came in droves, packing out CELLspace to rival any chi-chi SOMA club. Throughout the day, 600 people crossed our threshold, wandered through our gallery, and heard our voices.

Twelve hours. Eighty-seven artists. Seventeen strung-out APAture committee members. APAture coordinator Claire was chain smoking like an oil refinery. At two in the morning, I was moody and cranky as we ushered the last remnants of our audience out the door. But there was a lingering buzz of satisfaction. We had accomplished something exciting for APA artists and for art. And for me, hearing, seeing, watching the work of my peers, I felt privileged to be a part of such vision and talent.

—Sabina Chen