In her classroom, Caydance unpacked the artists books that she would pass around the class, set up the slide projector. On the table, she placed Sol LeWitt's Sunrise and Sunset at Praiano. Briefly, she opened its otherworldly pages of grided color photographs: ocean situated morning and evening sky, photographed from a villa on the Italian Amalfi Coast. Also on the table was Jill Scott's words and images performance documentation, Characters of Motion. Caydance remembered the photograph of a young Jill on horseback at home in Australia with her hair flying in the air. Before Jill went home, it was on the wall outside her office at the artspace named SITE. Also on the table was Ed Ruscha's semi-macho Crackers. Caydance prefered Twentysix Gasoline Stations, but the class had already seen that work.

For this week's "multiples" lecture, slide-shown works included Laura Grisi's plexiglass boxed Pebbles. In this edition of over 30, as if a repeated record of a rock pebble finding expedition, each box contained signed and dated chromogenic prints.

Other slides introduced less book-like multiples: Arakawa's I got up series of postcards that every day, he sent to different friends; Agnes Martin's On a Clear Day: grid displayed subtle screenprints, made in isolation on a New Mexico mesa. From seven books and ten slides, each student would select a work to discuss.