In her hands was a small publication by Audrey Isselbacher, the curator of The Cubist Imprint, an exhibition she had seen at SFMOMA in August.

The presence in books of many of the artists' works in this exhibition was on her mind: Picasso's "Mademoiselle Leonie in a Lounge Chair" had been included in poet Max Jacob's Saint Matorel; Juan Gris' prints were contained in a series of commissioned books.

The exhibition curator's conclusion was as important as she had remembered:

"Although their style originated in painting, the diverse body of printed works attests to the medium's capacity to foster artistic imagination. The widespread circulation of multiple copies possible with printed art made it a conveyer of the most revolutionary artistic development of the twentieth century."

Again, Caydance played the first song, in Erik Satie's Descriptions automatiques: "Sur un vaisseau". The way the sound of the French children's song "les p'tits bateaux qui vont sur l'eau" emerged in the score reminded her -- not in what the music evoked but rather in the music's compositional similarity -- of the way the tower emerged from a Cubist background in Robert Delaunay's "The Eiffel Tower".

The sound of Satie's "Sur un vaisseau" floated through her studio; the door opened. In came Griff, wearing his Huygens Tech Football sweatshirt, carrying his overnight bag.