Revision at the House on Abdeh St. is a site-specific exhibition consisting of installations and murals by fourteen artists, held in an empty house in downtown Tehran. This is a house in the midst of transforming from a residence for a single family, into a contemporary art gallery for all. The intellectual and curatorial foundations of this exhibition are rooted in revision, appropriation, and the evolution of the concept of home from a familiar space and a symbol of the everyday and privacy, into an artistic medium. By appropriating this building, the artists revise the innermost living spaces moments of transformation, discovery, and revelation. These pieces share an intention to redefine the most private of spaces – the bedroom, the bathroom, the basement, the swimming pool. An act which the 1960s French philosopher and cultural theorist Guy Debord calls Psychogeography and defines as “a total dissolution of boundaries between art and life.” Debord, together with his contemporaries, tried to oppose the capitalist and profit-driven nature of the arts, by offering a substitute for it through appropriating city spaces unrelated to the institution of art and creating independent art events, which he called “situations”. By this definition, the house on Abdeh Street is a “situation” for the experimental revision of an everyday geographical location by the artists, viewers, and exhibition at large.