KNITTING NATION PHASE 3 in 2006 was similar to KNITTING NATION PHASE 2 in its level of experimentation. Over the course of a five-hour long performance at Rhode Island School of Design, I asked participating knitters to incorporate personal choice in the creation of a single large fabric. Performers were installed with individual machines on the mezzanine of a central academic building called the Met, with the directive to each design and create a striped fabric employing three different yarns: one was a red cotton of my choosing, the other two yarns were left to them. Each knitter rotated position within a production line, similar to a volleyball player rotation, bringing his or her stripe pattern along, correspondingly rotating the patterns across the expanse of the length of knit yardage that were generated over the course of the piece. Those who were not knitting were hand stitching the lengths together as they came off the machines. The banner that emerged was fed over the railing of the mezzanine, growing and falling slowly through space to the floor below. The piece functioned for me as a game of chance, and revealed new ideas about how intuition can affect pattern. I was also struck anew by how KNITTING NATION is a type of “happening,” drawing spectators into the buzz of activity.