GB: There have been a couple of different ways that my work develops, involving different relationships to process. Most recently, I've been pretty committed to thinking about work as process that doesn't end in a product, that doesn't think about audience in any kind of traditional sense. I've been going back to Alan Kaprow's writing, and trying to get a real sense of what he meant by "experimental art," and what it would look like today. This is an art that doesn't care whether it's art or not. It draws inspiration from recent critical debates surrounding art, and is relevant to them, but cannot comfortably be called art itself. I've just royally frustrated my supervisors [at the MIT Visual Arts Program] by insisting that my final project didn't have an audience. The project is called The Little Dig, and I've been describing it as a temporary non-monetary economy based on the exchange of dirt. In a sense The Little Dig happened from May 1116 in Boston's financial district, when I actually had this pile of dirt sitting there on the grass in front of the Fed [Federal Reserve Bank of Boston], but the real Little Dig started in February, and it was this long and very bureaucratic process that involved specialists at the MIT Insurance Office; the Environment, Health, and Safety Office; my program's administrative staff; the programming coordinator at the Rose Kennedy Greenway, Kate Miller, who was so involved she basically became a collaborator; a couple of my housemates and a bunch of friends; and people off of craigslist who provided and then took away the dirt. My supervisors, if I understand them right, basically want me to say that these people were my audience. [My supervisors] have spent their careers working on opening up really challenging questions about publics and audience - work that I am totally indebted to. But I want to get into the process of work in a radical way that actually denies the possibility of an audience. The Little Dig makes meaning through the social relations that it generates, which are based on exchange and the creation of value, and not on the way that an audience perceives all of it.