 The failed bass to Lux Flux Arcade is an installation we've created at the Brooklyn Museum that, at its heart, is really about engaging with the artwork, having fun, young and old, coming and playing, and having this hypersensory experience. When we were first developing the Lux Flux Arcade, I think some of it was about trying to bring some of the artwork to life for us to explore this new medium that we never really got to engage in in sort of a still manner of paintings and these kind of things. We could bring the characters and these icons that we were creating to life. Initially working on the arcade cabinets, we were kind of taken by the sculptural aspect of them and fell in love with that, getting a chance to print and paint on them and kind of highlight those details. But as we got to working more in depth with them, we fell even more in love with them as an art piece in the sense that they captured sound, digital media, and became a really exciting kind of interactive sculptural art form. When we were initially trying to come out with the environment for the arcade, we took a lot of cues from just our process of working on the street and putting up posters and kind of juxtaposed those with the cues that we took from the environments that inspired our arcade bars and arcades themselves. And a lot of those environments tended to be, you know, heavily posted and weak-pasted bathrooms were graffitied up. And so it just seemed like an obvious solution to kind of emulate that with our aesthetic, doing the arcade room itself black and white to try and keep the focus on the arcade cabinets and the color and the energy that they admitted. And when we addressed the black light room, it was kind of trying to create an environment that was a hyper saturation of the arcade's black and white aesthetic, bringing in neon light and trying to give something a little bit more dynamic, but with a similar energy that created the flow between both environments of the foosball room and the arcade room. One of the things I think we've noticed over the years as the shows evolve too is that the viewers start to become part of the show in their own way, in the sense of the way people interact with the games, the way they do yell and how much sort of fun and emotion they're putting into it. As you just stand back, you can watch the people play the games and you can watch their faces and it becomes sort of an extension of the show in a way that I don't think we originally intended, but the sort of viewer participation as part of the installation itself has become a fun evolution.