The piece that captured my attention was "Black Box for Impossible Research." Even though I can see from the glass top the ridiculously long arms, the desire to try putting mine inside anyway and see if they might miraculously extend that long is still there. The the conflicting "do not touch" sign enforces this impossibility then, rather than letting it be apparent, which creates an interesting conflict. I was curious if the do not touch sign was there because of the desire to preserve the particular arrangement of the delicate objects inside the box or if it was in part to add conflicting weight to that "do not touch" rule.
The other pieces were arranged in the space in such a way that encouraged exploration and inspired curiosity. I also really enjoyed After Theater because of the presentation of a theater seat mounted on a stage-like pedestal, positioned in front of a record player that repeats the same measures of sound over and over again. Although neither visit provided me the opportunity to sit for the entire record, I imagined that the longer I would sit there, the more used to the repetition I would become. At first sitting there you are inspired by the urge to get up, and the longer you sit there, the longer the melodic chords (sorry I don't know music terminology) melt into you, and you feel them and less notice their repetition as it all blends together.
Also "Travel Map" drawn in sand inside a suitcase very much appeals to my own personal aesthetic. The map reads as a personal narrative rather than a communicative tool, and the sand makes the map ephemeral and fleeting--travels can change, be erased, rewritten in the sand.
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