before/behind was written after my first visit to the Guggenheim Museum in New York; the main exhibition was the work of John Chamberlain, a 20th century American sculptor whose medium was brightly colored scrap metal arranged in often towering precarious-yet-grounded abstract designs. I was fascinated by these works, especially at the way they changed as one walked around them, as if they were stationary mobiles, causing the world to circle them instead of the other way around. The Guggenheim itself is famous for its enormous 6-story main hall consisting of a grand spiral ramp, allowing for enormous exhibitions to be viewed in one continuous sweep. It was here that Chamberlain was placed; the very beginning of his career at the bottom of the ramp, and his last works at the top. Thus, the upward spiral followed Chamberlain’s career chronologically, yet I was equally stunned as I made my way back down the ramp, and was able to see all of it in reverse. It dawned on me how incredibly different my experience would have been had I started at the top and worked my way down. These ideas informed the concept of before/behind. This piece is an exploration of context, perception, and the manipulation of the two. An “object” is presented at the outset. The object itself does not change, but the piece places it in multiple contexts, allowing multiple unique perspectives and opinions of it. In the sense that watching the Chamberlain exhibition unfold forward in time altered my experience of it in reverse, so too is the overall attitude toward the object transformed from beginning to end.