Having been struck by this quality of interdependence between artist-object-audience inherent in her proposals, including her socially speculative and pedagogical spaces, I invited Caroline to be an artist-in-residence for Abject/Object Empathies for which a number of artists, including Pepon Osorio, Caroline O’Donnell, Alexandr Mergold, and Teresa Diehl were commissioned to make new work in the context of how feeling becomes form. For her first project with the university, Caroline arrived on campus with a whole system of producing art expressed as Free, Libre, Open Source Systems and Art (F.L.O.S.S.A), a manifesto for making “free art” which she used to guide students through an under- standing of how they might modify her Queer Rocker in order to make a version of it, by adapting it, for themselves. In the end, 11 new Queer Rockers, made unique in their slight difference of shape, color and texture, were exhibited together like products of an assembly line. Paradoxically, the artist’s sharing of the blueprints for her sculpture made the core chair prototype, obviously common to them all when seen in a group, the content of the exhibition rather than the individually modified sculptures. Students embraced this process of making variation as an act of creativity familiar to them in social and platform media and approached Caroline’s sculpture as a meme in shape and origin.