So what do you make of what I referred to as "the implication of it's form" and how I believed it "is not justified by the actualization of it's form?"

I'm referring specifically to the copper frame. I could easily imagine the tent being supported by a manufactured support from the type of tent it is modeled after. I could even imagine a homemade version, which is what we have here - but the homemade version I could imagine would derive from the design concepts of the manufactured variety, and would make comment on them. This frame has, to my mind, too much character, too much insouciance. It points to itself, but has nothing in particular to say.

Now, as for the diaristic aspect. Receipts as proof that we exist. There is, I think, something legitimate to this as a concern. Who isn't a little freaked out about their social security number getting out? What seems significant here is that the receipts face out. The 'who' finally finding his/her 'whoness' when (s)he's surrounded by his/her records, but can't see any of them.

Why receipts rather than other numerical identifiers of personhood? This I can't quite put my finger on. Receipts as a category I don't think are particularly more compelling than, say, hospital records, social security cards, telephone bills, etc. What some receipts have that are interesting, is the ability to turn purple in the sun. A built-in disappearing act. I haven't taken a close enough look to see whether this tent would change significantly in the sun. But if it did, that would further compound the crisis of identity the piece is aiming at.

Now, as for what it is doing in the LMCC office. The piece looks a little stranded. There isn't enough space around it to give it proper contemplation room, and there is too much space around it to make it feel part of an environment. Also, it's a very strange thing to see a sculpture on carpet. I think it would benefit from a low riser.