Sitting, Feeding, Sleeping takes us on a very particular journey through contemporary constructions created around different life forms, from medical breakthroughs in a cryogenics lab to basic scientific facts in a robotics perception lab, to animal care within zoos across the US. The artist uses these three spaces as prosthetics for understanding deathfullness—being alive, feeling dead. In the cryogenics lab, the bodies are pumped with nitrogen, with blood circulating they’re deemed only half-dead. In the robotics lab, machines are designed to register human happiness, and in the zoos, animals live extended lives emptied of sexual, social, andsurvival cues. The animal, the human, and the machine are all caught in a state between being alive and not being alive. In the installation, a light pink carpet, dyed to match the artists pantone skin color, functions as an ‘island,’ demarcating the space in which the viewer experiences a flattening timeline of footage, thereby implicating them in the contingency of its subjects and the artist herself.