His proficiency in architecture was evident as well as his interest in archeology. On the window side of the gallery, she erected a wall with tiny windows of a variety of shapes. Students could peek into the windows and see different cells, each containing only a miniature wooden chair. The scene of the chair with its back to a high wall and only a slit of light at the top gave the impression of imprisonment, while the chair facing a large window captured a moment of restful observation. In order to view the highest cell, gallery visitors have to stand on a life-size version of the little wooden chair, which gives an eerie feeling, as if the onlookers were in one of the cells at that very moment.
Black strings run along the floor, marking off rectangles of various dimensions.
Erickson noted that they mirror the strings on the opposite wall, as well as the diagrams of human forms in boxes shaped according to their position. His charcoal and pencil depiction of football players in the heat of action can be seen from anywhere in the room, yet as one approaches, the confusion grows. His disconnected segments of shading and selective outlining intensify the chaotic effect of the jumble of body parts. From up close, it is possible to make out an arm or a helmet, but the full human forms come together only from afar. It is an excellent portrayal of the fan-athlete difference in experience at a game.