Under the majestically scaled projection of the phrase THIS PLACE IS DREAMING, a choreography of sculptural elements evoked an urban romanticism that took the beholder toward horizons of futurist reverie. Or: Under the looming projection of the phrase THIS PLACE IS DREAMING, the chain-link fencing and steel elements recalled the stage designs of the theater of the absurd and their tortured signs of mid-twentieth-century European spirituality. Each of these descriptions of Martin Boyce’s installation Our Love is Like the Flowers, the Rain, the Sea and the Hours, 2002, is in accordance with the