 I'm Jeffrey Weiss. I'm the curator of the exhibition at Moudam called Robert Morris, The Perceiving Body. This exhibition is devoted to the first roughly 20 years of the artist's practice, what we normally call minimal and post-minimal art. The attempt in the show is to treat that entire period as a single project in basic exercises, aesthetic exercises in making an object, creating form, and beholding the sensation or perception of the object in space. So the exhibition comes from my experience with this work, my knowledge of the work from having known him for a long time, and my own art historical background, but the show was my idea and he saw fit not to interfere. Scatterpiece is a complicated work with a very kind of simple premise. The idea behind the work is that it's based on the activation of chance operations that were inspired by the composer John Cage. But the work is also supposed to be shown differently each time, so it's contingent on the space of the room on the one hand, which changes from place to place, and also on the person who's doing the installation, in this case me. Morris was extremely wary of curators as professionals, replicating what somebody else had done before, so he was adamant that the installation changed each time, and in order to explain that, and the fact that he was trying to avoid professional taste, he said to me once, it's easy, two eight-year-olds could do it. So I took him up on that proposition and decided to open the installation of Scatterpiece up to the participation of schoolchildren in Luxembourg, and the Education Department at Wudang was very excited about the idea, and we organized a class for kids who were taught about the history of the laws of chance and who were then instructed on how to apply those ideas to developing their own plan for the work. The way in which the children created the plan was that models or maquettes were produced, a miniature version of the work, and a layout was made that replicates the plan of the room, and then they used dice and cards in order to determine where the objects would go on the plan. That is a very specific idea that's related to the history of the piece, the idea that dice and randomly selecting cards, it belongs to, creates a random set of conditions for the production of the work. So the children made the work into a kind of game, and I think Morris often thought of his work to a certain degree as a sort of game, an open-ended approach to problems of form and installation. The children also were able to address the work in that way, but of course children are much closer to game playing than adults, and that made the whole thing extremely compelling to all of us here at the museum.