 My name is Michael Baloo, and I'm the eighth artist in the Raw Cook series in the Brooklyn Museum. When you get off in the elevator on the fifth floor, there'll be a shadow puppet called Gogo. There'll be two light sources on it, therefore two shadow projections. There'll be some window treatment that'll dim the room. There'll be the studio rug and the benches for seating. There'll be a soundtrack. There'll be two of them. One by Kurt Hoffman and one by David Cher. That's all of these ceramic items that start off as plastic toys and get mangled somehow, normally by my dog. I came to the loose center, and my very first reaction was like, this is a writer's paradise. We should do something with writers. I asked six writers to conjure about the phenomena of the loose center itself. And the way we access these writings is by a series of QR codes which are placed inside the vitrine. My piece, Dog Years, lets in the decorative art gallery on the fourth floor, and it's in one of the vitrines which they remove the glass out of. So we put many of the dog heads in and also spilled out in the more public physical space. It's you start with a plaster armature. We'll use oxy the moron. A styrofoam. You carve that and you articulate it with plaster and then you paint it. The process of making these things, the nice thing about making them is the process gets better and better as you move along. It's real pain to carve in these things. And then it's like you plaster them and that's more fun and the painting is the best. The first head came about in 96. So I started making them and as I was making them, the objects themselves became intriguing to me. And they had this sort of kind of broken narrative quality, this sense of just one shoe in a room. So I started making them and that's the genesis to body work.