The work Steinbach produced while in residence reflected upon the relationships among water, recreation, and the scientific development itself. Photographs of artifacts of discovery housed in the Tempio Voltiano in Como, an early 20th-century game, and objects from an antique store window in Hudson, New York, were shown side by side. There was a confrontation between the two collections. On one side, the celebrative way of exhibiting objects in science museums was expressed. Although the artist reproduced these objects in photographs that were deliberately out-of-focus, generating a fragmented and evocative vision, on the other side, real objects were exposed, apparently in an unstructured way; they could be touched and moved around. Both collections shared the necessity and the importance of the means through which they could be conserved and exhibited; as the base in sculpture's history, structures had never been completely neutral and had always influenced the meaning of the exposed object.