“Alice’s Rabbit Hole” is an exploration of hybrid forms in between exhibition and performance. It signals that an exhibition is not the “venue” or “stage” we perceive, but rather what transpires within it: installations, a series of performances, actions, events, or poetry, music, dance, sound or image. These designs may be configured or improvised. They may present performers arranged in advance, or unexpectedly engage visitors in a serendipitous encounter. But it all takes place with no written script. Visitors may join the scene as actors or collaborate with artists, or a dramatic event may take place before their eyes. When exhibitions go beyond the frame of the visual, what are they? Exhibitions? Performances? Actions? Events? Ultimately, they contain far more than the questions we ask. This demonstrates how today’s art constantly challenges our attitudes toward art itself. Indeed, in our age, art produced purely to be viewed is no longer the only option. Each trenchantly observant artist achieves more adventurous realizations in their work. Painting, images, sculpture, film, fiction, poetry, drama, dance, music, and other categories of art are no longer quarantined. Whether they cohabitate by way of absolute intermingling or mutual contradiction, they have become a choral art form comprised of many different voices. To a certain extent, art is hybridity. It strives to preserve mutual differences while also achieving mutual resonance, and so engenders expansiveness. One might describe “Alice’s Rabbit Hole” as an attempt to cross the barriers dividing professional fields and engage in exchange and cooperation. It is a rumination on what things can be inserted into the formation process of an exhibition, and what things can ultimately emerge from it. The result is an embodiment of symbiosis.