Three sculptural works, Tambour, Norfolk, and Vasculum (2013, 2012, and 2013; figs. 24–26), all come from Adkins’s project combining the historical and fictionalized interests of two men: George Washington Carver (1860s–1943) and Yves Klein (1928–1962). Adkins brings together the African American scientist and the French artist through provocative, allusive objects. For Resonant Spaces, the use of instruments (or an object that suggests an instrument—a hand drum, in the case of Vasculum) brings us to the hazy middle ground between music and sound art. Much as in Jess Rowland’s work, we hoped that the reference to music would feel familiar to the audience. But Adkins’s works are not musical per se—any sound is simply a reference, a memory, or an imaginative leap in the mind of the visitor.