BL: Well, I think that it is experiential. You have to move around. You could say that sculpture is three-dimensional, and that, if you really want to understand it, you have to walk around and see it from all of the different angles. For example, the Luke Fowler and Toshiya Tsunoda piece, Ridges on the Horizontal Plane (2011), is durational because the slide and the film projectors are time-based, but the curtain also flutters in relation to the fans in the corner, and the work very much exists in real time. The audience can be observers, or listeners, but they really have to move around in order to fully experience the work. I think that you have to engage most of these works by spending time with them, and for many of them this means moving around, standing in front, and thinking about the experience. I have always felt, in all the years that I have been at the museum, that you will not be able to nail someone's feet to the ground. It is going to be a cumulative experience. In the moment, they might think, "Holy moly, yuck," but then they might go home and think, "Oh, maybe," or even see something at another museum and then come back to the exhibition. You will not get them to do anything against their will, but we can make the experience as commodious as possible. There is a bench, a soft seat, or a rug, and if you want to sit down on the floor, then you can go ahead and do that.