At the entrance to the Power Plant’s second level is a large video screen playing what could be described as a high-quality GIF of familiar paintings changing, through a series of overcoats, into the works just seen downstairs.  The title of Miriam Cahn’s first major North American solo show of paintings and films at Toronto’s Power Plant, Me As Happening, captures this realization that everything seen before is a moment in an unfolding process. It may be the chance to see them like this as every decision, brush stroke, or wash of colour—even subjecthood—is impermanent. It won’t be easy going back.