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When critic and theorist Eve Sedgwick wrote about the fountain described by Proust in his seven-part novel À la recherche du temps perdu (1913–27), she noted its “links to earlier fountains in European literature, art and landscape” and how in its most fundamental form, it “offers a stylized, artificial epitome of the unending processes by which water is propelled through its life-giving round of physical metamorphoses.”[1]

In this exhibition, a party punch fountain, lit by a cinematic glow, appears as a vision, not in a clearing in the woods or the center of a walled city, but in an empty …