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{{todoActs}}[[File:Limits & Demonstrations.png|thumb|right|Emily, Ben, and Bob in front of the exhibition text.]]{{title}} is the first {{KRZ}} intermission actinterlude, released on February 8, 2013 between Acts [[Act I|Acts I]] and [[Act II|II]]. It features [[Emily, Ben , and Bob]] are shown to be visiting an art museum as they walk around a retrospective exhibit exhibition of [[Lula Chamberlain]]'s artwork. The player, acting as [[Emily, Ben and Bob]]the three characters, is able to may navigate around the exhibition space, let the characters discuss the artworks while discussing and interact interacting with one of themthe works on display.  ''Limits & Demonstrations'' is available for download [http://kentuckyroutezero.com/limits-and-demonstrations/ here]. == Development == The game originally began as a "graphics card test" demo, for players to see whether their computer was capable of running ''Kentucky Route {{Zero}}''. [[Cardboard Computer]] stated in a February 2013 [[newsletter]] that they aimed to "[present] various graphics card features that the game requires as a virtual art gallery."<ref>[http://kentuckyroutezero.com/pub/newsletter-archive/2013-feb-krz-feb-13-newsletter-limits-demonstrations.html KRZ Feb. '13 Newsletter: Limits & Demonstrations]</ref>

A wall === Gallery text === Wall text near the entrance of the showing room informs viewers that this is the first major exhibit consisting of works by artist Lula Chamberlain in more than twenty years.

Marking the first major public showcase of her work in over twenty years, this retrospective exhibition of work by pioneering installation artist Lula Chamberlain comprises a diagonal slice through time, place, and form. The pieces on display here were individually debuted over a period of thirty-five years, designed in Chamberlain's various homes and studios between her beloved Mexico City and her native Elizabethtown. They represent a range of scale and impact from the intimate warmth of `''Vertex Texture Fetch` '' to the infamous `''Visage`'', the latter of which requires a vertical clearance of over thirty feet. Yet these works share a confounding legacy: in each of their debut exhibitions, they were nearly impossible to install. Galleries and museums balked at the scale, power requirements, and highly-skilled labor involved in maintaining these works for display. Some of their debuts collapsed under the weight of logistics, only to be successfully executed much later. And so, just as they describe the outer limits of Chamberlain's range as an installation artist, the geographical edges and vertices of her itinerant home life, and the beginning and end of her distinguished career, the works on display here also trace the extremes of our capabilities and the frontiers of our patience as both viewers and exhibitors. Are we capable of viewing these works as they were meant to be viewed? Do we even want to be?

=== Artworks === In clockwise order, the works on display are as follows: * ''Spinning Coin, suspended, correcting for angular motion''. 1976. Found materials.

The artworks displayed are * ''Vertex Texture Fetch (in clockwise orderTree, television, and suspended cathode ray tube):''. 1968. Found materials.

* ''Overdubbed Nam June Paik installation, in the style of Edward Packer''Spinning Coin. 1965, 1973, Suspended1980. Magnetic tape, Correcting hand-held tape playback head, speaker system, voice of the artist, computer-synthesized speech.** This installation pays homage to [[wikipedia:Nam June Paik|Nam June Paik]]'s ''[https://www.guggenheim.org/artwork/9536 Random Access]'', originally displayed in 1963. The original piece asks the audience to create a personal music composition by guiding a playback head across strips of magnetic audiotape on the wall. Lula's interpretation combines this concept of interaction with a "choose your own adventure"-style narrative popularized by the author [[wikipedia:Edward Packard (writer)|Edward Packard]]. The interactive audioplay is narrated by Lula herself. In parts, the narrative diverges in irreconcilable ways, leaving the viewer to wonder whether what they just heard is factually true. [[Joseph]] and [[Donald]] also appear in the recordings.** A flowchart for Angular Motionthe dialogue in this piece can be viewed [[:File:Overdubbed Nam June Paik flowchart.png|here]]. * ''Visage''. 1984. Unknown media.* A black and white profile of [[Donald]]'s face. This is more easily discernible with the video sped up, 1976, found materialsas viewable [https://consolidatedpower.co/~donald/zero/images/8/82/Visage.webm here]. ** Inspired by a poem in the 1983 book ''The Policeman's Beard is Half-Constructed'', presented having been authored by a computer program called [[wikipedia:Racter|Racter]], programmed by William Chamberlain.

* '''Vertex Texture Fetch Basement Puzzle #2 (Threeartist, Televisionsunset, and Suspended Cathode Ray Tubehorse), 1968, Found Materials''. 1976. Plaster and wire.** A reference to a [https://www.youtube.com/watch?v=f-FbCaNHMqk discarded puzzle] set in the basement of [[Equus Oils]] which, before the game's release, featured in [[Act I]].

<poem>BENLittle Berlin – a gallery, artist collective, and exhibition space in Philadelphia, Pennsylvania – hosted an art show featuring recreations of the in-game artworks as part of a real-life exhibition titled [http: It's //www.littleberlin.org/calendar/2013/10/17/limits-and-demonstrations-a bunch of old tape-lula-chamberlain-retrospective "Limits and Demonstrations: A Lula Chamberlain Retrospective"]. The exhibition opened on October 4, 2013 and was curated by Lee Tusman, with future selected showings on October 10 and you run this tape playback head along it17. And just listen to The October 17 date featured a special reception and talk with [[Cardboard Computer]] via Google Hangouts (also streamed online), in collaboration with the recordings, I guess?bOBGrassroots Game Conference.<ref>[https: Let's try it out//www. I think you start in the middlefacebook.com/events/722398061110476/ Limits And Demonstrations: A Lula Chamberlain Retrospective - Facebook]</poemref>

This installation pays hommage to A showing scheduled for October 24 was cancelled after the gallery's host building was temporarily closed after receiving building code violations.<ref>[https://en.wikipediahiddencityphila.org/wiki2013/Nam_June_Paik10/ Nam June Paik's] "Random Access", originally displayed viking-mill-in 1963. "Random Access" asks audience to compose a personal music piece -kensington-shut-by guiding a sound pick-up across strips of magnetic tape on the wall. l-artists-makers-out/ Viking Mill In Kensington Shut By L&I; Artists, Makers Out – Hidden City Philadelphia]</ref>

Lula Chamberlain<gallery>Little Berlin 1.jpg|''s interpretation combines this concept of interaction with a "Choose your own adventure"-Overdubbed Nam June Paik installation, in the style narrative reminiscient of [https://en.wikipedia.org/wiki/Edward_Packard_(writer) Edward Packard]Packer''Little Berlin 2. The interactive audioplay is narrated by Lula herselfjpg|''Visage''Little Berlin 3. In parts jpg|''Vertex Texture Fetch (such as the various end points)Tree, the narrative diverges in irreconcilable waystelevision, leaving the viewer to wonder whether what they just heard is factually true. and suspended cathode ray tube)''</gallery>