Huyghe is interested in effect. He makes art like one plays chess – “how can I justify this move? Can I justify this move?”. He treats (in the exact sense of that word) the space as his stage and engages in/with scientific discourse as though it is all an experiment in which he is setting up the apparatus and then lets go but really he knows what the conclusions will be: the Witnesses will experience a manufactured encounter with the dog with the pink leg and consume the experience, be made to feel special and changed, and then disseminate their narrative of the encounter. He then harvests their narrative, moves to the next environment and repeats, God-like, playing with automatons that bore him. Its Fried’s nightmare but its also ironically Modernist, employing alchemical technique as though alchemy was proto-science and not an occidental expression of the drive toward individuation. In ‘by-passing the making’ he is a an illustrator of the conceptual, whereas I try to by-pass the concept through behaving (making) in order to discover or look at the nature of desiring/needing to discover.