With the balloon animals, an odd phenomenon occurs: a sentimental feeling, just like the one conjured up by the human-body-facilitated balloon inflation, is instead conjured by a machine entwined and central to a different type of body – the city.

The city is looped into the encounter as the source of the action. The “backstory” of how the art is functioning is pondered and lends the sculptures meaning. Although the thought process may make quick leaps, any viewer of Harris’ sculptures must think of the inflating animal, and then trace the air to the subway vents, which brings their mind to the city’s veins, it’s core of connection.

The 'breath' or air rising from subway vents that inflates Harris’ creatures has a story; it is not just repurposed air from the immediate surroundings. The connection of the air vents to the sidewalk roots the sculptures quite literally to deeper meaning, and this meaning relies on the observer attaching in his or her mind the city itself to the art.

Had the sculptures been hooked up to air pump machines in a gallery, the novelty would be lost. The connection to the city is the essence of the sculptures, both literally, and figuratively. The passerby’s encounter with the sculptures is central to the art, and it is not the same if uprooted.

The artwork requires the observer to encounter it in a way that forces the observer to view the city as connected, as a whole bodily entity enabling the life (or reality effect of life) of the animals. While viewing the art, the observer is forced recognize the internal workings of the city that make this air possible. The mind must think over these external connections, and thus, the observer and the art are dependent on the metaphor comparing the city to a body in order to achieve greater meaning.

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