I am offering these interpretations to a reader who can only, at the present moment, be exposed to the records and documentation of this exhibition. Some of my interpretations and afterthoughts come from conversations with the audience that took place once the exhibition was up. None of these interpretations were stated in the timeline. The catalog covers– 100 different images of clay and stone sculptures– competed with each other for the viewer's attention. The viewer could also see the evolution of the typefaces used in the exhibition's titles, as well as the varying qualities of catalogue paper stock over the last thirty years. Hence, she could experience both quantity and a desire to organize. This library of catalogues was offered to her eyes but further information and interpretations needed to be found elsewhere. Offering these interpretations in an online format may short-circuit the exhibition. Yet today, the exhibition no longer exists, and this library of catalogues has been dismantled as every book has been given back to its original repository. Or perhaps, from an orthodox point of view, the library never truly existed, since the books remained closed throughout the exhibition's duration.