At New York City's Park Avenue Armory and the nearby Shed, two multimedia art installations are challenging conventional expectations about how audiences engage with art through their sparse seating arrangements. French artist Céleste Boursier-Mougenot’s "Clinamen" and Los Angeles artist Doug Aitken’s "Lightscape" invite visitors to choose their own physical positions—whether sitting, lying down, or standing—as part of the experience.

"Clinamen," situated in the Armory’s Drill Hall, features a wooden platform with pools holding hundreds of bowls that collide gently, creating subtle musical tones. Visitors often sit on the floor around the pools in informal postures, from lotus position to full-length recline. Though there are some bench-like elevated sections, formal seating is minimal. The Armory’s president and executive producer, Rebecca Robertson, noted that despite the lack of conventional seats, there have been no complaints from attendees so far.

Similarly, "Lightscape" at the Shed presents a film and music installation projected onto seven screens, immersing viewers in fragmented scenes of Southern California life. The artist Doug Aitken purposely avoids fixed seating to allow visitors to select their own viewing angles, enhancing a more active and personalized experience. Aitken emphasized that traditional cinema forces a passive, fixed viewpoint, whereas "Lightscape" encourages audience members to construct their own narrative as they move through the space. He also remarked that returning visitors may perceive changes in the film, though the work remains unchanged, attributing this to their varied positions.

Both artists resist dictating how their works should be experienced. Boursier-Mougenot likened the Armory installation to a garden or refuge, where visitors can sit, lie down, or walk around freely. Observers at the Armory, such as usher Kim Tam, have seen visitors bring blankets or sheets to enhance their comfort, all of which are allowed and welcomed.

However, this informality is not universally embraced. Some patrons, like Valerie O’Halloran, expressed discomfort with sitting on the floor due to concerns about cleanliness, particularly in shared spaces where shoes walk across the wood. The absence of padding or support can also present challenges, especially for older visitors or those with physical discomfort. Aitken himself reported not feeling discomfort from sitting unsupported, but Aly Petos, artistic director of the Shed, has recognized the need for some accommodations. As a result, cushions and folding chairs are now occasionally provided during certain musical performances to better serve audience needs, though they may reduce the freedom of movement and perspective integral to the work.

The evolving approach reflects a balancing act between preserving the artistic intent of active engagement and addressing the practical comfort of visitors. As multimedia and experiential art forms continue to blur traditional boundaries, venues like the Armory and the Shed are adapting to create environments that encourage both exploration and accessibility.