Gnaw comprises two 600-pound cubes – one of chocolate, the other of lard – and a three-paneled, mirrored cosmetic display case. Using her mouth as a tool, Antoni nibbled the corners of both cubes, leaving visible teeth marks in the material. The chocolate fragments, blended with spit, were melted down and cast into 27 heart-shaped packages for chocolates, while the lard residue was combined with wax and bright red pigment to create 135 tubes of lipstick.

This installation enables a live plant to control a machete. plant machete has a control system that reads and utilizes the electrical noises found in a live philodendron. The system uses an open source micro-controller connected to the plant to read varying resistance signals across the plant’s leaves. Using custom software, these signals are mapped in real-time to the movements of the joints of the industrial robot holding a machete.

Benglis uses Andre's name in her piece, but the point she makes is not strictly pejorative. The work is an ironic and humorous homage to Andre's art, which is characteristically made of ordered, flat, modular shapes combined with simple slabs of metal or stone that sit directly on the floor or, like Benglis's piece, are installed in the corner.

A cybernetic sculpture, 'The Senster', was constructed by Edward Ihnatowicz in 1970 for the Philips Evoluon in Eindhoven. The device is a large electrohydraulic structure in the form of a lobster's claw: six hinged joints allow great freedom of movement. It is interesting that the device's unpredictable behaviour makes the observer feel that the sculpture is alive. Reichardt (1978) commented: 'It is as if behaviour were more important than appearance in making us feel that something is alive.' 'The Senster' has senses—sound channels (effective ears) and radar—to allow it to monitor its environment: it will, for example, react to the movement of people in the immediate vicinity. Electrical signals are fed from a control unit to activate mechanisms which cause movement in the device. The brain (a computer) has learning abilities and can modify the machine's behaviour in the light of past experience. Confronted by this artificial device, it is clear that people have no difficulty in organizing their psychological responses as if 'The Senster' were alive—an animal or another human being.

Have you ever considered commissioning a dog portrait in uniform? Take a look at Deef the dog above. His owners really wanted an oil painting of their dog painted as the Count of Monte Cristo. And personally, I think it’s come out really well. In fact our paintings of dogs in uniform or having your dogs in costume have become extremely popular, more so than our dog artists ever thought.

Vostell, an artist of international repute, has a history of casting expensive devices in concrete to "cancel their presence." Television sets are a favorite target, but he once sealed an entire Cadillac in cement in Chicago. At LAICA, some of the sets are dead or completely covered in concrete, but most have at least part of their screen exposed. They drone on and on with soap operas, talk shows and afternoon Westerns...

Vostell means to contrast the sophistication of TVs and turkeys. The birds win handily. He also feels we can learn more from reputedly stupid turkeys than from television, but the comparison may not be a fiar one. The TV drone is so familiar and the programming so low-level, we quickly accept it as easily tuned-out background noise. Turkeys, on the other hand, look downright exotic to city folks who have never encountered one off a serving dish and wearing its feathers.