A huge part of the show's intrigue is the building itself. The project evolved out of four site visits Fu made from across the country over the course of several months. Meanwhile, Ginevra Shay, The Contemporary's program manager, oversaw the restoration of the KAGRO building—removing walls, drop ceilings, and carpeting to restore the space to its minimal, churchlike splendor. The project presented challenges as one of Fu's first ventures into the realm of site-specific installation: "What happens when architecture is involved, but not as a discursive element? Are there shades of site-specificity that I don't know the terms for?" Apart from the projection that dominates the main space, Fu installed blue gradient film over the windows in the rear of the building. Depending on the time of day, these humorously translate the sky into a digital effect being imposed over the cityscape outside. In front of the windows, an animated neon sign depicts a hand cycling through the "enlarge" reverse-pinching gesture as if the vista were an image on an iPad screen. The arrangement suggests a mutability of the built environment, but also an almost sympathetic futility. As a happy accident, the University of Baltimore's new Angelos Law Center that I affectionately call "Cube 2: Hypercube" is visible in the background. It looks like someone Photoshopped a chunk out of the Midtown skyline, revealing the transparency layer below.