Along with their ecological function, tree pits provide residents with a public place to display their creations, ranging from miniature landscapes to eclectic floral designs. In a similar way Caroline Cox’s installation embraced the expressive side of tree pits. Her piece consisted of translucent, curvilinear components. These were suspended from a net-like structure, held up by aluminum rods. The work’s dissimilar materials included: industrial spring-steel wire, buttons, millinery fabric, packaging mesh and laboratory glass tubes. Many of these materials were present at the installation site, from racks of clothing, to structural and architectural details of buildings on the block. As the viewers moved through Cox’s installation they observed a shifting of translucent overlays. Their movement instigated rounds of optical reconfigurations and transformations, as the mix of shapes and ambiguously implied functions conjured free associations. Through these intertwined processes the installation engaged and questions subtle modes of perception.