HAPPY IS TO SEE WHAT IT DOES!
In this sense, the process of making this exhibition has been as much an investigation of the play as the exhibition itself is a dramaturgical framework for the play’s “performance” at an art gallery. And this investigation does not end just because the show has opened—this is an exhibition made in the continuous present. All the artists were involved in the arrangement of the exhibition (i.e., its floor plan)—which was a dialogue around the play and its operative principles, and which began almost immediately after we embarked on this genre-bending experiment. Enacting the principles of the play in our process of arranging the exhibition, this “background” activity is as much a part of rehearsing the play as the concept of a shifting, or modular, exhibition design is a foregrounding of the “dynamic” nature of Stein’s still life.