We are all used to seeing men in suits; during the Manhattan workweek they are everywhere. Their presence is so ubiquitous they are noted as a collective force, when noted at all. They are corporate men in the midst of their daily routine designed to blend in, but in their ranks is an interloper, an artist posed as a businessman, an individual in a suit hoping to stand out through context, repetition, and perseverance. In his ongoing series of modest performances, photographer, Christopher Frederick, takes the role of a high-powered businessman and peruses the galleries of Chelsea, bringing up complex issues of identity, privilege, and the misleading power of our daily assumptions. Every Saturday morning, Christopher Frederick polishes his shoes, adjusts his tie, grabs his chrome-plated suitcase, and heads out the door en route to Chelsea for his weekly gallery tour. Armed with a briefcase carefully designed to contain his recent artwork, he leaves Brooklyn and ventures out into the art world. Between the hours of noon and three, he winds his way in and out of the main center of contemporary galleries (between 20th & 26th streets and 10th & 11th avenues.) Over the past four months, he has yet to miss a Saturday; each week he faithfully records his experience in a journal. His presence is slowly gathering notice from gallery owners and attendants, but with a few notable exceptions he does not interact.