I visited the exhibition, curated by Sara Barnes and Carly J. Bales, during the queer edition of Pulse, a new monthly performance series at EMP Collective, also curated by Bales with Alexander D'agostino. It is rewardingly immersive to experience performance and installation in the same space. NAPSQUAD (artists Alexander D'agostino, Noelle Tolbert, and Porter Montana) performed their piece 'SPACEFACE' in and around Gina Denton's hanging sculpture 'Power Necklace.' While NAPSQUAD ran laps, changed clothes and shoes, and gradually exhausted themselves in something like an inscrutable gym class ritual, 'Power Necklace' resembled a climbing rope or obstacle course. When the performers scattered, the piece asserted itself once again—a cascading chain of labor-intensive baubles including head-sized felt pom-poms, embroidery, and papier-mâché loops. It looks almost like a string of lobster pots designed to snare crafters rather than crustaceans. Just as this thought struck me, the North American Shepherd figure, wrapped in butcher paper, stopped mechanically surveying his flock of "Cityscape(goats)" and began changing costumes. I had previously noticed the figure, but mentally registered it as a kinetic sculpture and was startled by the reveal that it was Hoesy Corona in the suit all along. Those kinds of surprises that happen when you're focused/distracted/present/hypnotized for/by a room full of huge artworks and performances made me miss the old days of the Transmodern Festival, when visual art and performances were scattered together around the H&H building.