[7] At first sight the installation appeared to be set in a massive wooden box on the floor, but mirrors ultimately guided the viewer up to the museum's vaulted skylights – 18 of them, arranged in strips of 6, and each one transformed into a unique, slightly messy living room.
[8][9][10] Artcritical wrote that the work "speaks to cultural standardization that begins in tract housing and apartment blocks and proceeds into the minutiae of our lives" but added that Golden believes that the recognition of such sameness can spark a positive shared experience among viewers.
[15] The dizzying effect was compounded by shifting lights and video projections of rushing clouds on the ceiling and floor,[14] all accompanied by "atonal, slightly ominous music".
[3] The work filled the height of the museum's two-story Duplex Gallery and created extra space and levels by reflective surfaces, hidden platforms, and "Escheresque chambers".
[18] Three separate viewing stations were built into the work: on the lowest level was Golden's personal favorite, "a beat-up plaid couch that she drove in from her home town in Michigan".