which streams a restless flow of images and sound, interspersed with text." There was also a large, dark, vaulted chamber, which was intermittently illuminated with sudden flashes of rotating, coloured beams of light. In this chamber were "looming black metal towers and huge, squat black metal boxes. Moutned on wheels, yet unmoving." Video images showed burning fires, flowing waters, a sleeping girl, "banks of flowers" in brilliant hues, some primary colours, some metallic. A soundtrack with layers of indistinct words, music, and muffled noises was heard. There were aperture-like mechanical components, opening and closing, smoke, viscous liquids seeping out of boxes, and partially open windows "containing small, digital prints of natural, organic textures and materials – body parts or flowers of soil." Nightskin constructed various spaces of "night", including images of large, twilight landscapes and intimate, trancelike moments of half-sleep. It evoked images that were alternatively comforting (like a "womb" or a "boudoir") and suffocating (like looking "down through bars at videos of people, as if they are trapped"). British historian and journalist, Lucian Harris, wrote that the work captured the moment of transition from day to night when the "equilibrium of light and dark dissolves all matter before it is recast in the skin of the night" and contemplated the "many layered mysteries of the night" that are allowed to emerge once the harsh world of daylight has been left behind "like a snake, lithe and glistening as it sheds the brittle corset of its dying scales." The project was widely praised for its technical and methodological achievement. Soumitra Das of The Telegraph wrote "Mazumdar could not have created this daedal overlay of optic and aural sensations by simply wishing it would happen. It is obvious that meticulous planning went into it." Das speculated about the time and effort required to paint, sculpt, photograph, arrange the music, and other such usual types of creative work, but also for "hanging at least a hundred framed pictures from the ceiling, rigging up a panel encrusted with the tiny bells of a ghunghru that start jangling in unison from time to time, putting together and installing those sinister, tall black 'cupboards' on wheels... punctuated with 'windows' embedded with... images, and making sure that the louvres open up and close to reveal just enough of the videos with the regularity of the respiratory system." In an interview to The Statesman, Mazumdar said that