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The director of Albright-Knox Art Gallery in Buffalo, which acquired the work in 1966, described it in more euphoric terms: 'When you're inside it, you feel you're floating on a cloud. Infinity stretches out in all directions. "s But if Kusama's use of mirror reflections was in the service of 'endless love', Samaras's work derives from more violent and morbid impulses. In a statement to Albright-Knox Art Gallery, Samaras writes that 'the idea for a completely mirror covered cube room occurred to me around 1963 when I incorporated the idea in a short story, Killman'.

Oiticica's writings about viewer perception, interactivity, and lived experience (vivencias) are therefore a crucial reference point not only for this chapter but for the history of installation art as a whole. By the mid-1960s, Oiticica had developed a series of objects that were to form the building blocks of his later environments, the most important of which were the Penetrables. Initially produced in maquette form, the Penetrables used panels of colour to create temporary-looking architectural structures.

5 Insect mimicry is thus tantalisingly described by Caillois as a 'temptation by space', an assimilation to the surrounding environment that results from a desire for fusion between animate and inanimate. As with the human experience of dark space, argues Caillois, the mimetic insect is decentred: it no longer feels itself to be the origin of spatial co-ordinates, and its awareness of being an entity distinct from its external surroundings begins to disintegrate. 6 Caillois's argument is explicitly influenced by Freud's theory of the death drive, in which he posited an instinct oflibidinal retreat, in other words, a desire to return to our primary biological condition as inanimate objects.

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