The fourth painting was hung in the resonance chamber for the showing.
Not because the resonance chamber was the obvious location — in some ways it was the least practical choice, too small, the lighting designed for session work rather than viewing. But it was the right choice for reasons that had nothing to do with practicality and everything to do with what the showing was for.
The resonance chamber was where the work had been done. Where the network had assembled each time the extension sessions required it. Where the formation had channeled the passive field through two centuries of waiting channel geometry and produced, segment by segment and session by session, the full city.
The fourth painting in the resonance chamber was the record in the place the record was made.
