If 2015 was the year of FRESH MUSEUM—the project's decisive turn toward institutional infiltration and the portable exhibition format—then 2016 is the year of the cut. The five series that constitute this year—SWEET CORN BRUTALISM (071) , INCISIONS AND DISSECTIONS (072) , EXFOLIATION (073) , WILD FLOWERS (074) , and THE WORD (075) —form a coherent arc of operations performed on the body of the city, the body of the archive, and the body of language itself. The titles are surgical: incisions, dissections, exfoliation. They are also vegetal: sweet corn, wild flowers. And they are linguistic: the word. The year spans nodes 915 to 1000—eighty-six nodes in total, culminating in the millennium node, the thousandth entry in the LAPIEZA archive. 2016 is the year the project crosses from three digits to four. It is the year the archive becomes a library. It is the year the cut becomes a method. The node ranges are precise: SWEET CORN BRUTALISM occupies 915–926 (12 nodes); INCISIONS AND DISSECTIONS occupies 927–940 (14 nodes); EXFOLIATION occupies 941–960 (20 nodes); WILD FLOWERS occupies 961–980 (20 nodes); THE WORD occupies 981–1000 (20 nodes). The numbers are not accidental. The series grow in length as the year progresses, building toward the ceremonial hundredth node of THE WORD. The project is counting down to 1000, but it is also counting up: from 915 to 1000, from the middle of the ninth century to the threshold of the tenth. The millennium is not celebrated; it is approached. And the approach is a series of cuts.
THE WORD (981-1000) concludes a season with twenty pieces from 2016, visible at
