The exhibition was anchored by ten paintings by Peter Bruun, each showing an ambiguous black form (reminiscent of a Rorschach Test) against a white ground, and each placed next to an object or work of art contributed by a participant.
Each of three exhibition rotations was comprised of ten miniature installations with the following elements: a painting by Peter Bruun, a work of art or object from contributing participant, that person's name on the wall in vinyl lettering, and a stack of statements on a small shelf expressing what it means to that person to have his or her art or object on display.
The first rotation featured painted chairs and a pair of photographs by youth who took part in Creative Alliance programs at the time. Many of the chairs were by youth from the nearby Southeast Youth Academy.
The second rotation featured works of art by artist members of the Creative Alliance. As one artist described it, Bruun's paintings functioned in this context as "textless text panels," poetic evocations of the presence of art.
The third installation featured objects chosen by area sole proprietor businesses, whose practice of working creatively at fulfilling a vision of entrepreneurship is implied to be akin to the practice of being an artist.
Peter Bruun's paintings played a symbolic, almost curatorial role in the exhibition: in each rotation, they take on slightly different meaning, but throughout function as markers of being hood. In Being Seen 1-2-3, Bruun is as much facilitator or meta-artist as he is exhibiting artist, using his work to draw attention to the function of the gallery and the role the Creative Alliance plays as a neighborhood anchor for different groups.