The new St. Ann’s Warehouse anticipates the recalibration of senses experienced upon transition from depravation [the subway underground] to immersion [the city] by establishing a set of binary paths consistent with depravation and immersion in their purist and most absolute forms. This initial intervention begins in a still enclosed environment that stands on the threshold from the York Street subway to its Jay Street exit. The existing building that houses the exit has been punctured and the proposed entrance attached. With this act, the procession through depravation is extended into the structure where upon the two extended paths begin. One, housed within the thick concrete walls of the larger structure, detracts audiences from the onslaught of stimuli unique to a site cradled between two major highways and subways. The second suspends from the concrete structure, thus immersing the participant in a visceral experience so saturated that it may well be qualified as abrasive. To prevent the numbing quality of repetition, occasional intersections between paths are introduced. Inserting these mechanisms insures a prescribed experience in transition between absolutes while still maintaining the unpredictable nature that puts the existing St. Ann’s Warehouse space in such high demand. Also embedded in these intersections are opportunities for performers and audiences to participate in a dance that questions the designation of performer and spectator. The paths become the stage and the procession a performance as they cleanse the palette with intense demands of body and mind so that participants may accept the complete theatrical experience, wherever it may occur.