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Overall, a minimalist aesthetic will be presented. The furniture will be sparse.
      • A couch and chair or two chairs for sitting - but no tables, throw pillows, etc. Preferably of a limited color palate.
      • A rug however, would be nice, to give it a "living room" feel.

In the center of the space, a large, simple (white?) box full of assorted colorful legos would be the primary focus of the exhibit.

With the furniture on only two of the "walls," one wall, perhaps the window side, would be dedicated to typical white display pedestals - at least 4.
      • Initially most of the pedestals would all be empty, save for one, on which a piece of "commissioned"/selected lego artwork would be placed in order to begin populating the space.
      • The other pedestals would be open to allow visitors to display the pieces they create
      • Another pedestal could be set up in the elevator alcove for a commissioned/selected lego piece

Signage is a stumbling block still, and would need to be non-obtrusive and concise but still clear.
      • Signage needed to: invite visitors to build and display their own work as well as letting them know its okay to cannibalize previous works if they need the parts/space.
      • The other problem is whether or not visitors should label their own work and participate in that process as well. If desired, if would be possible to leave blank labels for them to affix to the pedestal next to their piece.

Potential "commissioned" pieces could range from the absolute minimal (a single Lego block) to more complex structures.


By presenting legos as the center piece for the exhibit, I want to foreground both the ramifications of the unique space in which it is being held. Not only is the space already given the moniker of a "living room," but it is an exposed location. This exposure is manifested not only in the public nature of the building which people are experiencing without the intention (frequently at least) of seeing artwork, but it is also more locally completely visible to those walking up and down the stairs. Because the space is usually devoted to the use of the visitor, I wanted to accentuate that purpose, bringing them into the process of creating art and an exhibit. There are a whole host of possible materials and ways that visitors could interact with a show in the living room spaces, yet to me, the very name "living room" brought me back to the home, to family, and to the experience one of our most loved toys - the Lego. A living room felt a place to explore and interact with the childish, with engineering, creating, and playing, and Legos are the perfect vehicle.

Also inherent in the use of the Lego is the question of authorship. In asking the visitor to participate, it is elevating them to the level of both artist and curator, an shift which is also paralleled in the elevation of the Lego itself. The Lego is on display, not only as the centerpiece of the living room, but on typically gallery pedestals, raising the question of whether or not it is the Lego block itself which is the art, or the creation (of Legos) the visitors have made. Whose work is on display? The curator's? The visitors'? The designer's?

The modularity of the Lego also lends itself to the potential destruction of other people's work and its cannibalization into new pieces. I would like to encourage vistors to not only use the pieces provided in the box, but to feel free to take apart other works which are already on display. To me, this modularity is a reflection of our artistic process - remixing, borrowing, collaging from our large "cultural warehouse" of ideas.

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