Bishop also asks, "if relational art produces human relations, then the next logical question to ask is what "types" of relations are being produced, for whom, and why?" She continues that "the relations set up by relational aesthetics are not intrinsically democratic, as Bourriaud suggests, since they rest too comfortably within an ideal of subjectivity as whole and of community as immanent togetherness." In "Traffic Control", published one year later in "Artforum", artist and critic Joe Scanlan goes one step further in ascribing to relational aesthetics a palpable peer pressure. Scanlan writes, "Firsthand experience has convinced me that relational aesthetics has more to do with peer pressure than collective action or egalitarianism, which would suggest that one of the best ways to control human behavior is to practice relational aesthetics." In 2002, Bourriaud curated an exhibition at the San Francisco Art Institute, "Touch: Relational Art from the 1990s to Now", "an exploration of the interactive works of a new generation of artists." Exhibited artists included Angela Bulloch, Liam Gillick, Felix Gonzalez-Torres, Jens Haaning, Philippe Parreno, Gillian Wearing and Andrea Zittel. Critic Chris Cobb suggests that Bourriaud's "snapshot" of 1990s art is a confirmation of the term (and idea) of relational art, while illustrating "different forms of social interaction as art that deal fundamentally with issues regarding public and private space." In 2008, Guggenheim Museum curator Nancy Spector organized an exhibition with most of the artists associated with Relational Aesthetics, but the term itself was shelved in favor of calling the show "Theanyspacewhatever". The exhibition included stalwarts Bulloch, Gillick, Gonzalez-Foerster, Höller, Huyghe, and Tiravanija, along with loosely affiliated artists Maurizio Cattelan, Douglas Gordon, Jorge Pardo, and Andrea Zittel.