THIS PAST FIRST THURSDAY, the Forgotten Works space found a way to become a little less forgotten. It held a big, wide-open holiday art sale, with as many works (all limited to 8″ x 10″) as would fit on the walls.

The previous first Thursday, the Nico Gallery space (where my own City Light, City Dark premiered) held a live dance/performance/whatever event entitled Flipeography. Seven dancers, spaced around the room, held static poses until passersby touched them to cue a “flip” to a new pose.

Castle, the multi-state sex-shop operation we once described here as “buying chains from a chain store,” opened a new outlet on Broadway, in a former Wherehouse music store. (Just think: They could’ve kept the old sign and just changed the third letter.)

Most of Castle’s branches are self-contained big-box (pun unintentional) buildings with plain storefronts. Its first Seattle store, on Fairview between the Seattle Times and Hooters, is so minimally marked you essentially have to already know it’s there. But the Broadway store’s got a big open display window, inherited from its prior tenant. Everyone who passes by can see what’s in the windows (so far, fetish wear and Xmas decorations). Everyone who passes by can see when you enter and leave. (But they don’t have to know what you bought.)

Still, for intimate goods I’d still recommend a more intimate store, such as Toys in Babeland.

Meanwhile, Abercrombie & Fitch announced this week it won’t make any more of its wacky catalogs, infamous for their use of naked models to sell clothes.

Say what you will about the chain, but its catalog was the original Queer Eye for the Straight Guy. It taught a generation of iron-jawed frat boys to think of themselves as objectified sex toys; as exemplified by the photo-op models seen here at the downtown Seattle store on the day after Thanksgiving.

ON NOV. 30, Doug Nufer emceed the final installment in the Titlewave used-book store’s monthly live reading series, after nine years. We’ll miss ’em.