This body of work explores combinations of the two terms display and architecture: the many strategies used in the display of architecture, whether drawing, models, film, or photography; architecture put in the service of displaying art and objects as exhibition structures and supports; and most importantly, objects that display themselves, whether pavilions (in the case of architecture) or commercial and cultural products. The video Architecture of Shops, the sculpture Display VII, and the wall installation Sombrero were first shown together and operate as a little display primer, importing this aesthetic discipline into the gallery for both the artist and viewers’ scrutiny. To me, the apparatus of product display is a model for the function of aesthetic in the art object, as well as a key to understanding the function (and non-function) of the pavilion typology. To test the functional drain of this form, I have built pavilions with unlikely functions like bicycle storage, workshops, or just lounging. The low functional program of the pavilion is in turn a model for my exhibition architecture, which I think of as a kind of functional art installation, created for the display of other artworks. When art is introduced to my exhibition architecture in projects like The Puppet Show or El Grito, a whole new set of variables emerges and the previously clearly-outlined roles of function and display become blurred. This viral ambiguity of the art object brings to mind the mutability of value in my early works such as the Crime Stories. Also problematizing boundaries, the Display Nature project looks at how architectural representation constructs and superimposes our perceptions of both the built and natural environments.