The other gallery-based installation in Resonant Spaces was located in the Hopkins Center for the Arts along a busy hallway. A wall of windows allowed many to have visual access to the work, but only a fraction of these entered the gallery to study it further. This seemed an appropriate place for Christine Sun Kim’s Grid of Prefixed Acousmatics (2017), a work composed of fifteen ceramic sculptures and fifteen accompanying drawings (figs. 30 and 31). Visually appealing, the sculptures and drawings were arranged in neat grids on a table and wall, respectively. At first glance the work seemed deceptively straightforward: sculptures in relatively recognizable shapes, such as a vase and a pearl necklace. However, the work was highly conceptual in nature.