Endless began as a poem. It is a poem for the rapidly changing society that should prioritize a world of curiosity and imagination. Make-believe, given credence, provided a fracture to investigate our relationship to the city and, by extension, ourselves. The piece’s physical transcription offered an opportunity to explore the complications of a life at once made real and made a belief. Endless provided an immersive experience of harsh weather, ebbs and flows of people, steel stability, and the gentle passing of clouds. The installation transcended local interest and inventiveness through forums and discussions across seas through social Art and Architecture. Public space was made and distorted by the interplay of form and materiality, walking the line between familiarity and illusion, with eighteen stainless steel planks crafting an uncanny valley from Kansas City. The distortion became familiar as a sculpture, nestled under a mothering tree, became an object to check your hair, practice a performance, a recorder, camouflaged, a picture frame, became endless.