Hi, I'm Dayanita Singh. I'm an artist and I work with photographs as my raw material. Museum of Chance spans 30 years of my work. I think the idea came really from the frustration of exhibiting in museums and galleries. How do I get away from the wall? How can I change the images continuously? How can I change the space? And I thought, okay, so I'll have to make my own form. Museum of Chance is made of two pillars with panels that open up in different ways. The museum displays prints in its panels on its outside. And when opened reveals a reserve collection of prints stored inside. So a total of 163 photographs, 16 square boxes, and 10 rectangular boxes. Four tables and four stools. Just having the suggestion of a table and a stool to me says, study, read, think, contemplate. Photography is not just about seeing, it's about reading, it's about listening, and most of all about having some feeling. I want to make work that allows people to build their own narrative. So at best I give you hints and clues and sometimes, quite strong nudges, but you have to build the narrative. And so if I tell you the full story, what is there left for you to do and the start of it was really the images made by chance. From the corner of your eye catches your attention. They couldn't be precise in what they showed or what they suggested. I had to be able to listen to the images. I had to be able to listen to the tone precisely so that they could work in any combination. It really helps to start thinking of this work as film stills. Just to sort of exaggerate the point I've actually included a lot of film stills. And there's a lot of subtitles from Fellini, there's Hindi film actresses, to sort of nudge you towards the cinematic. Can photography aspire to that as well? Museum of Chance was a very, very slow edit. It took me over two years to make because the images have to work horizontally, vertically, diagonally, blindly, also in a way that you could just pick up an image from here, pick up an image from there and it should still work. Because in photography, that if you just shift one image the whole narrative changes. It's the documentary aspect of it that I'm completely addicted to. The fact that one builds an archive out of these images. They are making a record of things that are disappearing that's one part. And the other part is the dissemination. The fact that I can make postcards, I can print in a newspaper, I can be on Instagram. That photography allows for so, so much.