Two participants sat across from one another. One listened to an audio device playing a recording from when I took my mother to an installation of a communal apartment. The other participant is watching film documentation of the artist walking through the communal apartment installation. The installation was by a Russian artist, and my mother, like many immigrants, can still vividly remember the living conditions of these kinds of homes in the USSR. She did not understand how this could be art; more so, she did not enjoy how inaccurate the installation was done, portraying the communal apartment in much more grave conditions than what it ever was. When I told her that it could serve an educational purpose, her response was simple, “I’d rather tell you how it really was.”