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Mitchell) and omitting pre-existing conditions by claiming to only know two stated characteristics known about the statue. However by teasing apart the following exhibition detail, Dudley suggests a material and object-led treatment of collections places value on wider ecologies: They facilitated this by bringing about what they call an ‘intense, interactive’ kind of looking that gets visitors first to focus on the physical qualities of the objects, […each exhibit] centering each of those on one key object with a number of other objects leading off from it in order to evoke different strands of the stories concerned, encouraging visitors to concentrate primarily on objects and the relationships between them. By using objects to communicate and provide each other’s interpretation, an importance is placed on a wider ecology in exploring how non-human entities coexist. This also has perhaps can draw on a navigating between spatial and temporal epochs. ‘Material Environments’ (The Tetley, Leeds) is an example of a challenging and risk-taking contemporary art exhibition. Working closely on this, it defied expectations of who museums are for by transforming gallery spaces into alternative environments through material, alongside continuous live experimentation. Within this, Phoebe Cummings created ‘A Ripening Surveillance’ (2018); an immersive constructed clay environment [Appendix A].This giant sculptural object sat within a giant polythene tent and had a water pipe plumbed in to keep the installation alive and sweating. This installation was not solely a visual spectacle; moisture and humidity provided a haptic experience and alternative smells provoked sensory responses. The sculpted environment triggered sweating and a raised body temperature when individuals stepped through this membrane to embrace this alternative fiction, a reminder this environment was not for humans, but belonged to the clay and other nonhuman entities within. The visual content included floral satellite canopies, which combined a digital entity with a natural blooming presentation; this provided a sublime marriage of the digital and ecological. Furthermore, the exhibition was framed around ‘live’ processes, so the installation was gradually added to in situ throughout the duration. The result being nobody ever saw the installation in the same way, because alongside the growing plants, time also contributed to this experience; clay sporadically dried, cracks grew, clay powder dispersed, structures fell, humidity levels ebbed and flowed. The constructed environment also hosted other living entities to propagate and thrive; clay trees and flowers nestled spiders and cobwebs, the clay pool with timed water sprays gre

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