Stringing a strand of light bulbs from the center of a hollowed-out tree trunk and placing them upside down in vessels filled with water and chrome-yellow pigment may not be everybody’s idea of fun. After all, water is electricity’s best friend—a natural conductor—but for us humans the meeting of the two is downright dangerous. In Frank Morzuch’s Transformateur (Transformer, 1994), the transition from an inner response to outward recognition becomes a difficult barrier to cross, a pressure-sensitive membrane that separates the object’s meaning from its associative potential. Metaphors for the