On 17 April 2018, Tom Benson, a curator and an artist, sent me an email asking if I was interested in participating in a group show at Laure Genillard Gallery at the end of the year. He told me that he would like to include the work Not Really Really (17-SS-4) but he was concerned about how to show this work over a long period of time (37 days). As I mentioned above, Not Really Really (17-SS-4) is extremely fragile and this became central to my discussions with Tom. We spoke about the schedule of changing the yolk, and the possibilities of giving this maintenance work to the gallery (so having the gallery assistant change the egg yolk instead of myself). The following questions were provoked: Who was going to change the egg yolk and how often did it need to be changed? When would the changing of the egg yolk start and finish?

Before the exhibition began, I admit that I had only thought about the external situation, which included the install, schedule, logistics and communications with the gallery staff. I did not think through the psychological effects of the maintenance of the work; the mental stress of repetitive labour and how the show would affect my everyday life. I also became increasingly concerned that I might disrupt the running of the gallery during the work’s changing process. Therefore, as the preparation of the work developed more elements surfaced that needed to be addressed. This also highlighted that Not Really Really (17-SS-4) was a site-specific work that required me to respond to the environment in which it was located.