a. 20 sheets of skin, suspended on metal frames on the walls. 19 CD players with headphones are in each of the numbered metal boxes beneath each skin. [One skin has no recording. I did not find the farmer].

b. 5-meter round table, with recess to contain 10000 loose banana skins

c. 8 curved benches fit round the table. 24 people can sit, closely, but comfortably, at the table. [With children/young people up to 30. With a second row of people –one can have a ‘conference’ style exchange of approx. 100 people. See photos from 2007].

d. A ‘connective practice’/social sculpture process is designed for use at the table [See details below], and accompanying printed handbook. The installation can be experienced casually by individuals and by groups. Museum visitors do not have engage in the structured process.

Note: There should be no visual or other secondary information about the growers available, particularly in or near the installation space. Such ‘documentary’ material takes people out of the experience into a different headspace. The experience derives partly from the absence of the growers, apart from through their ‘number’, their ‘skin’ and their voices.

Other material including: contextualising information by curator/s e.g. about ‘free trade’ /slavery / colonialism; extracts from ‘the story of the project’; notes about ‘social sculpture’ [its history, the contemporary field of social sculpture and ‘connective practice’]; explanations about ways of participating in the process; and the invitation to participate in a structured, sign-up process, should be outside the space.