In Attentat #9, a sports utility vehicle (SUV) emits an audio-visual track and is left standing on the street with fumes coming off it. This hyper-realistic scene depicts a mock-terrorist attack wherein the automobile industry, governments and consumers are incriminated for their contribution to environmental deterioration through the purchase and use of such vehicles. These past works ultimately emphasize the importance of the individual being conscious of the environment and how each action can impact how each person lives together.

Process is an integral aspect to ATSA both in revealing the labor and resources the artists need to draw from and how these also impact the environment and/or audience. In Le temps d'une brassée…à Hull, June 15 - August 8, 2004 at Axenéo 7 Gallery in Hull, Quebec, a free laundry room was made available at no charge to the public. Here, the process became a key element also playing and referencing an industrial past where women worked in mills to clean and process cotton. Simultaneously, this work attempted to unify the gap between the [interior] gallery space and its [exterior] community by actually offering a free laundry room for public use.

While process is integral to ATSA's work, communication and education are equally important as each the foundations from which the audience can be reached. Communication and delivery means used by ATSA includes media events, spreading concepts by word of mouth, written reviews, conferences, workshops and collaborative work engagements with the public. FRAG on the Main created in the summer 2004 was a collaborative project with [the] "Société de développement du boulevard Saint-Laurent". It is now a well documented website where information is available to the public about St. Laurent Street, its past, ATSA's interventions, and its public database chronicling how people remember this important Montreal street.

ATSA is largely supported by both private and public sponsors who encourage their promotion and development of public projects for greater education and social awareness. Sponsers have included the Canadian Council for the Arts, Conseil des Arts et des Lettres du Québec, Conseil des Arts de Montréal, the City of Montreal and as well as several private partners who wish to remain anonymous. ATSA is interested in promoting themes that push between research, performance and appropriation. Public proposals developed by the public are considered by ATSA if they comply with their mandate and schedule. Works related to social history, its past to present are often considered. Murs Du Feu (Walls of Fire 2002) and FRAG on the Main 2004 demonstrate Roy and Allard's belief that by better knowing history, one can feel closer to the current present. Thus each person can better make responsible decisions as citizens with it by being informed.

Since 1997, ATSA has been well received and adored by Montreal's viewing public as a result of its concern with numerousf social issues. For example, États d'Urgences (1998) was a refugee camp setup downtown Montreal. Supported by the Red Cross Society, the artists provided warm clothing and daily meals for homeless people. This intervention focused on human values and the importance of 'community' even within the heart of an urban city centre such as Montreal.

ATSA's urban interventions bear a striking resemblance to reality yet they elude this. In this group's case, subtle changes in public places, spaces and/or objects are used to prompt viewers to question themselves and the artwork (ie) 'why all of this?' The artists themselves welcome inquisitive thoughts from passers-by and, thereby, will provide information and literature to those on site. ATSA hopes to expand and embrace new members, encouraging the public to take part in promoting positive global change at an individual level through creative action. Afterall, both life and art are interchangeable -- it's all contingent on perception.