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There is a core group of youngish people who do the charity circuit. Among those urbane types, there is a tendency to say, “I liked the Power Ball when it was small and we could wander down to the lake with our drinks.”

Well, yes, but the point of fundraisers is to both raise money and awareness for, in this case, a rarefied arts institution, the Power Plant Contemporary Art Gallery, 20 this year. And on May 3, Power Ball 9, themed Revolution, showed how much the little party had grown. In addition to the several hundred artists (from Michael Snow to OCAD fledglings to whom the PP board had donated $160 tickets) were brokers and their ilk alongside the regulars.

“The point is to get people down to the gallery,” said entertainment lawyer Paul Bain, one of the board members. “And it's happening. But the party maintains its reputation as a place for the beautiful people. Everyone was dressed snazzily.”

Indeed, led by the inimitable board chair Lonti Ebers (a style chameleon, this night in a gown trimmed in feathers), the crowd was mighty pretty. Some got into the “revolutionary” spirit. One babe was topped with a giant blonde 18th-century-style wig. And a few troupers were kitted out in Che tees. But the dress code of the season is the minidress and everyone seemed to get the memo.

“It has changed, and that is great,” agreed Ted Geatros, managing partner of Consumption Inc.

The hit of the night was a “virtual kissing booth”: couples sat on either side of a screen, their profiles projected onto the wall ahead. The created image made it appear as if the subjects were swapping spit. As the night grew raucous, couples who missed the point just stumbled into the frame to neck for the cameras.

Early evening saw patrons at a VIP cocktail lounge mingling more sedately. It cost $360 to gain access to that power set (360, revolution, geddit?).