Part of the installation myein, this wood table was sited in the entrance courtyard to the United States pavilion at the 48th Venice Biennale.  Positioned at work height, it was the only object in the installation.  Its surface, drilled through with holes, was threaded with squares of white cotton cloth. Thick knots pulled tightly against the surface hold each unadorned sheet in place, hanging free and filling the negative space under the table. In response to the history and institutional authority of the building, the table’s scale and materiality acts as an account, remembering the ancient quipu tradition in which record-keeping was evidenced by the pattern of knots tied in a string. The raised, knotted surface also references the system of raised dots that form the Braille translations on the building’s interior wall and its accounting of property and racial violence in Charles Reznikoff’s two volume work, Testimony: The United States 1885-1890 – Recitative.