The show's abridged run of two weeks makes it feel ad hoc and revolutionary, as though it will be mounted, demounted and fast on the move, something like the agit-prop train moving across the Soviet landscape in the early years of the 20th century. The problem is that we are in Dallas in 2005 and not the newly formed Soviet Union of 1917. The show's short run makes it seem unprofessional. Then again, orthodox business is not the mainstay of the Oh6 art collective and Pigeon-Stone Project, the do-it-yourself gallery consortium that sponsors the show. Though neither group is interested in doing things as usual, they are both committed to action within underserved domains. Oh6 is an increasingly choosy group of young artists doing world-class art in a city perpetually timid about its world-class status. The young curators of Pigeon-Stone Project take advantage of marketplace leftovers, curating often provocative exhibitions in the nooks and crannies of Dallas' cultural scene, from the bar space at the Magnolia to the lobby corridor at Continental Lofts. Ultimately their shared gift is excess. When their cup runneth over, it does so in fashions unforeseen. Please give us more: more ants and provocative mayhem.