I built a stage that was twelve feet by sixteen feet. It filled most of the gallery space. On the stage were six microphones, six microphone stands, and six stools. The microphones were all active, their cables strewn on the floor just as you would find them in a stand up venue. I had the microphone routed to a mixer that fed the signal to an array of nine speakers. The volume was on the verge of creating feedback, causing that resonant ring that is just barely perceptible. When a person entered the gallery they had to step on the stage. There was no other way of getting into the space. As one would step onto the stage the microphones amplified the sounds of their movement. It picked up their steps, it picked up their voice, and it picked up the sound of them shuffling stools, as they were allowed to move the parts around. The viewer thus created a feedback loop. They were in the position of viewer and performer. They were on stage, they were making sound. Two pads of jokes, one set written by myself, the other set written by my friend and comic Virginia Wallace were left on the stools. Should a viewer choose they could recite these jokes into the microphone and hear laughter coming from the other side of the room. This was due to the audio from the videos bleeding into the same audio stream as the six microphones. It is social. When multiple people are in the space their sounds mix together, there are ensembles of performers. Of course not everyone likes the idea of being on stage, of being out in the open. At times when people entered the space, they looked noticeably nervous. During the opening there were live comedians performing. On either side of the stage a wonderful dynamic formed. The crowd was split between people who were laughing, at the jokes and at the spectacle; and people who appeared trapped, as if they could not leave the space.