Sarah Pierce uses the umbrella term “The Metropolitan Complex” to describe her art practice. Despite its institutional resonance, this title does not signify an organization. Instead, it demonstrates Pierce’s broad understanding of cultural work, articulated through various working methods, involving papers, interviews, archives, talks and exhibitions. Characterized as a way to play with the hang-ups (read ‘complex’ in the Freudian sense) that surround cultural work, one emphasis is a shared neuroses of ‘place’, whether a specific locality or a wider set of circumstances that frame interaction. Central to her activity is a consideration of forms of gathering, both historical examples and those she initiates. The processes of research and presentation that Pierce undertakes highlight a continual renegotiation of the terms for making art: the potential for dissent and self-determination, the slippages between individual work and institutional context, and the proximity of past artworks.